Postcapital. Archive 1989 - 2001, Exhibition view, WKV Stuttgart, 2008
Advertisement, Cape Times ("The world can change in a day", 08.11.1989)
Advertisement,, Cape Times ("The world can change in a day", 10.09.2001)
Montage (Chronology)
Montage (Chronology)
Montage (Chronology)
Montage (Chronology)
Cartoon, 50ies, Still

The expansive setting is framed by a voluminous frieze of images delineating a subjective chronology of events having taken place between 1989 and 2001. The first and last images are derived from an advertising campaign in a South African daily newspaper operating with the slogan “The world can change in a day.” One motif shows the Berlin Wall on November 8, 1989 and the other the square at New York’s World Trade Center on September 10, 2001.

Contrasted on two respective banners are logos of globally operating companies opposite names of left-wing organizations: in proxy for, on the one hand, the privatization of almost all public spheres of life and, on the other hand, the reappropriation of public scopes of agency.

Media Noise
Positioned in front of the “urban silhouette” is an open video installation drawing on “old-media” archive inventory. It interrelates Cold War propaganda films, poltical advertisements, entertainement “for men“ (soccer; sex), commercials and financial news.
The “urban silhouette,” a labyrinthine ensemble of exhibition modules, can be accessed through two entrances where visitors encounter a video projection. One shows a video montage of documentations of walls being stormed. The other shows a helical camera pan along the satellite image of a metropolis. Only upon second glance is the urban texture recognizable as “Ground Zero.”

Border Crossings
The six exhibition modules connecting the two entrances contain audio, image, and video collages focusing on the various contexts. The space adjacent to the “storming of walls” presents various declassified documents related to the “revolutions of 1989” in Eastern Europe. Highlighted here are, furthermore, a series of other events that provoked or heralded decisive changes in 1989: for instance, the Tianamnen Square massacre in Beijing, the invasion of U.S. troops in Panama, or the Exxon Valdez oil spill.

9/11 Mysteries
The exhibition module next to “Ground Zero” reveals different counterstatements to the official reports on the attacks of September 11, 2001—such as, for example, a video documentation substantiating how the collapse of the World Trade Center towers could only have been caused by targeted explosions. The aim here is not to corroborate or to invalidate any particular theory but rather to explore the question of what its collective credibility is dependent on. At the same time, Andújar references Pinochet’s military coup on September 11, 1973 in Chile.

Red Box/Black Box
Situated at the center of the architectural ensemble are two exhibition modules, one red and one black. The red box comprises sources like the “Marxists Internet Archive” or a compilation of various musical interpretations of the “Internationale.” In the black box, Andújar shows his video work Honor, which interweaves images of war and terror from computer games, newscasts, amateur documentations, and advertising campaigns. In contrast, he examines the representational forms of resistance in a slideshow, collecting images of the global demonstrations against the war in Irak, which took place on March 20, 2003.

Cartographs and Diagrams
Forming a “hub” between the different spatial segments, an open booth houses a collection of maps and diagrams that present distinct interpretations of globally entwined social, political, and economic changes. An animation interlinking the satellite images of current megacities and agglomerations likewise points to an altered perception of the world.

Archive and Workshop
The “heart” of the archive—the server—is concealed behind the “urban silhouette.” Through different computers networked with the archive server visitors are provided with direct access to the entire stock of data in the archive. They can use it for personal research, to copy materials, to intervene in the archive’s classification scheme, or to present their own selection from the archive on monitors. In addition, a series of events will be held in the archive section.

As element decoupled from the archive section, the digital library offers access to writings, texts, videos, and audio documents from, or about, over two hundred authors who have enduringly influenced current thought. A selection from the inventory will be made available in printed form.

Schlossplatz 2
D-70173 Stuttgart
Fon: +49 (0)711 - 22 33 70
Fax: +49 (0)711-22 33 791
Württembergischer Kunstverein Stuttgart