Video recordings

[Irit Rogoff], Friday, June 2 16:00 - 16:15
I am here to function as the exergue, as that which comes in advance of an argument or the playing out of a hoped for argument. The exergue is a citation, a found object or quote which alerts us to both what might be coming but also establishes its relation to previous thought. In part the exergue establishes a heightened atmosphere of what is to be expected, a frisson that communicates the intention and the spirit behind that intention in advance of the thing itself.

[Galit Eilat] "Collaboration" is a structure, where two or more people work together toward a shared aim―typically for an intellectual or cultural project that is creative in nature. Yet, "Collaboration" acquires a very negative meaning as referring to persons or a groups which help an occupier or enemy of their country. What are the benefits and dangers of cultural collaborative projects between Palestinians and Israelis when any kind of collaborative structure is acknowledged as collaboration with the enemy?

[Mansur Jacoubi], Friday, October 13th 2006, 17:00 - 17:30

I open this evening, having just arrived from Lebanon, which had just undergone a one-month dreadful war and is now undergoing a difficult post-war situation, or rather one might say a period of "being in-between wars." Since my task here is one of introduction, I will use this opportunity to give a brief and perhaps scattered narration of this war as a witness. To witness war is to feel the inexplicable sound of bombs, to fear death, to be in solidarity with others. To feel hate, anger, and negotiate violence. It is also to witness it in ways not unlike others: through TV and computer screens, reminding us of that saying, "wars now happen only on TV".

[Eyal Weizman], Saturday, July 22nd 2006, 14:00 - 14:30

»Initially the task of that talk is to frame the relationship between the previous event and this one and to see how concepts could be developed. However, the kind of events and situations that we are experiencing and consuming right now would obviously make it little bit more specific. But, I think, in general that the war that is happing right now in Gaza and Lebanon is exactly a moment where events such as the Dictionary of War are made relevant..«

... somehow a remake of Sun Ra's Nuclear War from 1982

[Emil Hrvatin], Friday, February 23th, 2007, 20:30 - 21:00

and to present various approaches to entertainment in different armies today as well as to question why don't we have entertainment for peacekeeping soldiers on international level. Lecture will consist on presenting documents as well as a part of documentary about American Military Theatre festival I am busy with.

[Egdar Schmitz], Friday, October 13th 2006, 18:30 - 19:00

[Ines Weizman], Friday, June 2 16:30 - 16:55
An architectural arms race is a competition between two or more countries for supremacy through the means of architecture and urbanism. Each party competes to produce architectural imagery or concrete built form to achieve a relative gain over the other. Such gain could be accounted for either symbolically, or physically interfering with urban practices in the country of the opponent.

[Felix Ensslin], Friday, February 23th, 2007, 18:00 - 18:30

Anxiety is the only affect that is beyond all doubt, it nevers deceives. This is Jacques Lacan’s elaboration on the subject in his Seminar titled “Anxiety”. In contradisticintion for example to both Freud and Heidegger, he thus complicates the distinction between Fear and Anxiety. For both, the psychoanalyst and the existential-ontological philosopher, the two are seperated by the plus and minus of the presence or absence of an object.

[Michael Hirsch], Friday, October 13th 2006, 19:30 - 20:00

»Sovereign is he who decides on the exception.« This is Carl Schmitt’s famous definition of the problem of sovereign state power. It is the definition of the threat of sovereign state power in two meanings of the word: the »normal situation« is threatened by chaotic, an-archic troubles; and it is threatened by a sovereign state who re-establishes the normal order by stepping outside of the rule of law. (..:) Giorgio Agamben has, with regard to the imperialistic world politics of the USA (and with regard to Italy under Berlusconi) strengthened Schmitt’s thesis and has formulated with Walter Benjamin: »The state of exception we are living in is the rule.«

[Raqs Media Collective], Friday, October 13th 2006, 17:30 - 18:00

Ashwatthama is a character in the Mahabharata, cursed to live forever, as a kind of wandering warrior.

[Saskia Sassen], Friday, February 23th, 2007, 17:30 - 18:00

Anti War I think doesn't work anymore as a word. And I want to explore why. Is it that war itself is a situated historical something and we've moved beyond that historical period? Is it that we are no longer positioned in a clear way, so that we can identify war?

- I think the last time anti-war worked, as a word, as an image, of letters, was when massive demonstrations happened all over the world, hoping to prevent the invasion of Iraq.

[Nicolas Siepen], Friday, June 2 19:30 - 20:00
A montage of two kinds of montage, two types of assembling images about, in between, beyond, as a war machine within the images themselves. A fine line between love and hate: 1. Jean Genets »Un chant d’amour« (A love Song) – how to make love through a wall and que(e)r it (smoke). 2. The Godard/Gorin/Mieville machine »Ici et Ailleure« (Here and elsewhere) – how to use a two-image-assembly to ruin the War Machine as montage itself - are we not mature to read an Image yet? (Fascism)... in-between: GODARD - embedded War Machine ...

[Michalis Pichler], Saturday, February 24th, 2007, 15:00 - 15:30
God Bless America

EXTRA CHEESE / SAUSAGE / MUSHROOM / PEPPERONI / CB/HAM / BLACK OLIVES / BEEF / ONIONS / SPECIAL / CUSTOMER

[Meir Wigoder & Irit Rogoff], Friday, February 23th, 2007, 17:00 - 17:30
An occupation, military or civilian, is lived out at many different levels, modalities and distances. The suffering that is visited upon those whose freedoms are curtailed, whose movement is blocked and whose lives are threatened is rarely matched by the misgivings of those implicated in inflicting the occupation, or those associated with it through citizenship or other modes of inscription. Our concern here is with the question of how the occupiers might vigilantly live out an occupation beyond the simple rhetorics of resistance. There are many levels to such a living – out ; the need to be alert and vigilant in seeing what is actually going on, the need to document it, the need to find ways of incorporating what one sees into one’s work – often in oblique and indirect modes.

[Eyal Weizman], Friday, June 2 19:00 - 19:30

[Albert Heta] Kosovar Pavilion Venice Biennial 2005, did not confuse only those who cannot distinguish what is an Albanian and what is a Kosovar pavilion, artist or identity but seemingly also players of the great structure of the ancient contemporary art power elite that eventually accepted apologies by the used instrument of this work (e-flux) for challenging their Biennale with a tool of their own system and continued to live on in harmony as nothing had happened in the West (Sunday, color video, 3.01 min.).

[Diedrich Diederichsen], Friday, October 13th 2006, 19:00 - 19:30

(1) the image of people cleaning up their houses and streets, and what's left of it after they been attacked, bombed etc. (2) the myth of Trümmerfrauen cleaning up the rubble in post-war Germany, when, at the same time, the trope auf cleaning up was strong as a right wing trope of law and order, and even war (3) the antagonism of negentropic cleaning up and entropic war

[Muha Blackstazy] For more than 10 years, Muha writes lyrics that are very much connected with everyday life of the Roma community in Novi Sad, and turns them into hip-hop songs. In 2007 he made his first professional studio recordings; the album “Crni smo mi” (“We are Black”) was released in July and promoted at the EXIT Festival (MTV Movement campaign).

[Teofil Pancic] A novel... The last night I slept at home was the night of December 29th, 1991. After that night I have been going to bed and been waking up in many other places, of which at least one I could , with a lifelong engrafted caution, even call my home, but no, never again after that night have I slept at home, I was never at home at all, nor I will ever be at home again, even if I would go back to that place, the place where the home was.

[Verica Barac] How did these two subjects come together, when it was perfectly clear that we have learned this lesson seven years ago - existential problems of the citizens and their families cannot be resolved by resorting to nationalism? The fact that proves that we knew this back then are the citizens who voted for democratic options in 2000 and left nationalist parties without support.

[Bojan Djordjev] Inscenation of the novel by Ivana Sajko "Rio Bar", which is an intimate history of the war in Croatia  narrated in eight monologs of a certain girl in a wedding dress. In this quoted excerpt, described metamorphosis into a "women-thorn" represents   basis of the concept THORN – practical human nature.

[Slavko Bogdanovic] Prologue: you are in darkness of a public room in novi sad, serbia. it is the beginning of what is called new millennium. IMAGINE a time line emerging marking origin and development of the law concepts of war, determining destiny of individuals, nowadays we call them civilians.

[Irwin] NSK Garda refers to the project in which the slovenian art group Irwin collaborates with various European armies. In these actions soldiers, with Malevich's cross on their sleeves, raise and guard the flag of the NSK State in Time. In that sense it is not really a performance but more some sort of tableau vivant of the real army wearing a Malevich cross. Art society and army society are social structures that are usually totally opposite to each other and very rarely mix. With this action Irwin is organizing this encounter.

[Metahaven] The wall that separates 'us' from 'them', friend from enemy, organizes the opposition of imaginations. A conflict (or war) of projections, virtual placeholders, where the enemy is designed as an image that will never actualize.