Actually, the Dead Are Not Dead: Politics of Life

WORKS IN THE EXHIBITION
Courtesy, if not mentioned otherwise: The artists

Bergen, record cover (photo: Banu Cennetoglu)
Lisa Bufano / Sonsherée Giles, One Breath is an Ocean for a Wooden Heart, 2007
Lisa Bufano, Untitled Collaboration, 5/29/2011, 2011
Antonio Centeno / Raúl de la Morena, Yes, We Fuck!, 2015
Anna Dasovic, So, On Behalf Of My Country And From the Bottom Of My Heart, 2019
Eva Egermann, Crip Magazine #3, 2019
Flo6x8, Voz flamenca en el parlamento (Flamenco voice in parliament), 2014
Valérie Favre, Suicide, 2003-2013, Courtesy: Barbara Thumm Gallery, Berlin and the artist © VG Bild-Kunst, Bonn 2020
Robert Gabris, The Blue Heart, © VG Bild-Kunst, Bonn 2020
María Galindo / Danitza Luna, la piel de la lucha, la piel de la historia (skin of battle, skin of history), 2019
Niklas Goldbach, album (cut together - cutting through), 2020
Siri Hermansen, Addet Àndagassii / Om Forlatelse / Apology, 2014, © VG Bild-Kunst, Bonn 2020
Suntag Noh, Vertigo, 2000-19
PEROU / Sébastien Thiéry, Considérant ... (In view of this ...), 2013
Pedro G. Romero, María Salgado / Fran MM Cabeza de Vaca, Nana de esta pequenia era (Lullaby of this Little Age), 2019
Ilhan Sayin, Bergen, 2014
Sunaura Taylor, Wildlife, 2014
Åsa Sonjasdotter, Cultivating Stories, 2019

Bergen (Belgin Sarilmiser)
b. 1958 in Mersin, Turkey; d. 1989 in Adana, Turkey
Selection of records
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The Turkish singer Belgin Sarilmiser (1958–1989), better known as Bergen, took the name of the Norwegian city as her alias. Bergen was famed in the 1980s as the "Queen of Arabesque". Her husband threw nitric acid in her face during one of her performances, blinding her in one eye. Nevertheless, refusing his violent attempts to silence and domesticate her, she continued performing, using extravagant hairstyles and accessories to cover her injury and established herself as "Woman of Agony" in the limelight of an ever-growing following. Fatally shot by her husband in 1989, she has remained a complex symbol of sorrow and emancipation in Turkey to this day. The Stuttgart exhibition presents among other things a number of LPs and cassettes that visitors can listened to in the exhibition.

Lisa Bufano / Sonsherée Giles
L.B.: b. 1972 in Bridgeport, Connecticut; d. 2013 in San Francisco, California

One Breath is an Ocean for a Wooden Heart
, 2007
Video documentation of the performance, color, sound, 12’56”
Choreographed and performed by Lisa Bufano and Sonsherée Giles
Music composed by Jerry Smith and performed by Jerry Smith and Caroline Penwarden
Video: Luis Maurette. The video was edited in the course of the Bergen Assembly 2019
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In this performance, the two dancers wear seventy-centimetre-long wooden stilts secured to their arms and legs, constructed from Queen-Anne-style table legs. With the help of these prostheses they carry out in this choreography a constant transformation between human, object, and animal. They become larva, insect, gazelle, or bird, appear as living mythical creatures or kinetic objects, sometimes as one and sometimes as divided bodies. At times, their two bodies are twisted and interlocked to the extent of essentially indistinguishable limbs. This pas de deux explores the balance of power between closeness and distance, struggle and approach, repulsion and attraction. The prostheses are a central element of the dancers’ movements, simultaneously supporting and restricting them.
Lisa Bufano was an interdisciplinary artist and performer. At the age of twenty-one, a bacterial infection led to the amputation of her feet and fingers. Since, she began experimenting with prosthetics and props in her work. Her predominant theme was the visceral experience of alienation, embodied by creatures, real and imagined. Sonsherée Giles is a dancer, choreographer, teacher and costume designer. Bufano and Giles collaborated on several projects and were both involved with the AXIS Dance Company for several years.

Lisa Bufano
Untitled Collaboration, 5/29/2011, 2011
Video, color, silent, 30”
Camera and animation: Jason Tschantré
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In this short video, Lisa Bufano uses the aesthetics of early stop-motion film. It seems to be reminiscent of the humor and oddities of Georges Méliès’s cinema of attraction, his references to vaudeville and motion studies. In his filmic experiments, the French illusionist, theater owner, and film pioneer dissected the body and animated its single fragments like autonomous entities. In Bufano’s video, it is the artist’s boot-wearing prosthetics that tend to take on a life of their own. The pair of legs and the rest of the body are constantly dis- and reassembled, connected to and disconnected from each other. The medical regime and its apparatuses designed to optimize the human body are rejected here for the sake of a body in constant transition. Whereas Méliès clearly aimed for spectacle, Bufano’s scenery avoids any kind of dramatization. It thus counteracts the voyeuristic tradition of the “freak show” as a representation of the functionally diverse body.

Antonio Centeno / Raúl de la Morena
Antonio Centeno and Raúl de la Morena are activists and cultural producers based in Barcelona.

Yes, We Fuck!, 2015
Video, color, sound, 59‘
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The 2015 documentary Yes, We Fuck! comprises six short stories that address the sexual and political desires of people with functional, mental, and intellectual diversity. Jointly directed by the Spanish filmmakers and activists Antonio Centeno Ortiz and Raúl de la Morena, the film tells of post-porn workshops, sexual assistance as a profession and vocation, the recognition of one’s body as both desiring and desirable, and the project of new collective of political imaginaries and narratives. Centeno is a founding member of the Spanish Independent Living Movement (Foro de Vida Independiente y Diversidad), which, in the mid 2000s, coined the term "functional diversity" in order to surpass the normative distinctions between abled and disabled. He is a long-term advocate of the politics of desire: the necessity of sexualizing and thereby repoliticizing functional diversity; the struggle for personal autonomy within and beyond the realm of pleasure and through sexual assistance and blissful alliances; and a radical challenging of the hegemonic visual repertoire of desirability and non-normativity.
The film can be viewed online with German and English subtitles at www.yeswefuck.org

Anna Dasovic

b. 1982 in Amsterdam, Netherlands; lives in Rotterdam, Netherlands

So, On Behalf Of My Country and From the Bottom Of My Heart, 2019
Installation: video, color, multichannel sound, 11’; text

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On July 11, 2015, Anna Dasovic attended the burial of 136 people in Potocari, a town located in Republika Srpska, Bosnia and Herzegovina. This is an annual event to commemorate the genocide that took place in Srebrenica in July 1995 and to lay to rest the remains excavated over the course of the preceding year from mass grave sites. It is the only annually televised mass funeral in the world. In 2015, the assembly also marked the twenty-year commemoration of the genocide in the presence of celebrities such as Bill Clinton or Madelaine Albright. Dasovic’s work So, On Behalf Of My Country and From the Bottom Of My Heart brings together images of the burial from news media, found mobile phone footage, and video material that Dasovic shot with her own phone. The montage traces the rhetorical and physical movements of Bill Clinton and Aleksandar Vucic, the Serbian Prime Minister in 2015 and now President of Serbia, who in 1995 had been a member of the ultranationalist Serbian Radical Party (SRS) and who still refuses to publicly acknowledge the genocide. The popular protest that erupted was quelled by security forces and a Muslim community leader, who asked that people remain focused on the work of mourning. Relatives that attend these annual burial assemblies – many of them survivors of the massacre – find the space for their political dissent atrophied and their grief marginalized. Dasovic combines her video with a three-part text work based on the script of Bill Clinton’s lecture. The text is revised several times: as a corrective change of perspective on the events, as an angry commentary, and as text erasure.

Eva Egermann

b. 1979 in Vienna, Austria; lives in Vienna, Austria 

Crip Magazine #1–3, 2012, 2017, 2019
Wall installation, magazines
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The artist and academic Eva Egermann is presenting an installation related to the self-published magazine project Crip Magazine that explores forms of representation opposing the conditions of normality/abnormality. Crip Magazine comprises theoretical and artistic contributions on subjects such as crip pop culture, the history and presence of radical crip movements, and subcultural, left, and queer contexts of disability. Initiated by Egermann, the magazine is released on an irregular basis; the first issue was published in January 2012, while the second followed in May 2017. Together with a presentation of past issues and related projects, a third edition of Crip Magazine was produced collaboratively throughout the course of Bergen Assembly 2019. It includes contributions by artists such as Lorenza Böttner, Antonio Centeno Ortiz, Valérie Favre, Jemina Lindholm, Sunaura Taylor, and Romily Alice Walden, whose works were presented in Bergen and most of which can also be seen in Stuttgart.
At the Württembergischer Kunstverein, the exhibition shows a wall installation with selected elements from the three previous issues of Crip Magazine, and printed copies of the third issue will be available over the course of the entire year. All three issues are available as a free download under: www.cripmagazine.evaegermann.com.

Flo6X8

Collective, established in 2008, Spain

Voz flamenca en el parlamento (Flamenco Voice in Parliament), 2014
Video documentation of an intervention in the Andalusian parliament, July 24, 2014, color, sound; 3’10”
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Flo6x8 is a collective of activists with links to the flamenco world, who have carried out a series of surprise actions at various banks over the past few years, using flamenco – the quintessential Andalusian form of expression – to highlight the banking industry’s responsibility in the financial crisis. This time, however, they set their sights on the Andalusian parliament, which was holding its last plenary session before the summer break, and launching the new 'Seat 110,' intended to promote citizen participation. Three flamenco singers, two women and one man, interrupted the session when the spokesperson for the Socialist Group took the floor. (Flo6x8 website)

Valérie Favre

b. 1959 in Evilard, Switzerland; lives in Berlin, Germany

Selbstmord (Suicide)
, 2003-13
45 from a series of 129 paintings, oil on canvas, 24 × 18 cm each
Courtesy Barbara Thumm Galerie, Berlin, and the artist
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This series of small format paintings unfolds as a multilayered study on the representation of acts of terminating one’s own life. The diffuse, sketchy and sometimes abstracted paintings refer to both general forms of committing suicide and concrete cases enacted by anonymous, famous or fictitious persons ranging from Lucretia, Ophelia and Ajax to Ulrike Meinhof, Alexander McQueen and Marilyn Monroe. Some paintings refer explicitly to suicidal scenarios from art, theatre or cinematic history, while others are assigned dispassionate words such as 'in the gas oven', 'with hunting rifle', 'frontal against a tree', or 'hanging'. Each painting is credited with a short note indicating, more or less concretely, its narrative context. Ideologically motivated suicides are included, such as kamikaze or suicide attacks, while others do not reveal the motivation behind the fatal action. Difficult to identify, the protagonists appear only as shadows or phantoms. Surrounded by and merged with the translucent layers of a seemingly disappearing environment, they are captured at the threshold between life and death. The focus is on the act that effects the self-decided moment when life turns to death, and on its dramaturgy. Avoiding spectacle, the paintings offer both empathy and distance in regard to their subject.

Robert Gabris

b. 1986 in Hnusta Likier, Slovakia; lives in Vienna, Austria

Das Blaue Herz (The Blue Heart), 2016
Series of 5 drawings, copper engraving on paper, print 1/7, 70 × 50 cm each
Printed at Stamperia d’Arte Albicocco, Udine, Italy
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The Romani minority is often viewed negatively due to poverty, unemployment, and prejudice, and they constantly face existential problems and injustices. In these social conditions, many become delinquent and are imprisoned. My own father spent many years in jail. He told me that he had an important role there: he was the tattoo artist. My engravings attend to the moment when my father painfully scratches the memories of his family members into his skin. He records important data on his chest and his ears: the death of his first daughter or various excerpts from letters from his mistress. When I asked him about the meaning of these drawings, he showed me his chest and said: "My body is the place of my life. All the wounds and drawings of my past are there. I scratched them with a needle and blue ink deep into my skin. My family is eternalized on my chest. Even though I left my home, I will be together with my beloved ones in prison. When I get out of here one day, I will become a life story. This I will take with me to the grave." (Robert Gabris)

Cyberlove, 2018
Series of 12 drawings, colored pencil on paper, 42 × 29.7 cm each
The drawings illustrate gay sex dating through mobile apps.

Anatomische Studien. Fleisch (Anatomical Studies (Flesh), 2016
Series of 5 drawings, fineliner on paper, 21 × 27.9 cm each

María Galindo / Danitza Luna

M.G.: b. 1964 in La Paz, Bolivia; lives in La Paz, Bolivia

la piel de la lucha, la piel de la historia
(the skin of battle, the skin of history), 2019
Series of six drawings
Drawings by Danitza Luna, texts by María Galindo, produced by the collective Mujeres Creando
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The artists and activists María Galindo and Danitza Luna are both members of the Bolivian anarcha-feminist collective turned social movement Mujeres Creando (Women Create) that radically challenges structural oppression and discrimination through the development of concrete and poetic strategies of protest, performance, and street action. Co-founded in 1992 by Galindo, the collective has been continuously stressing the intersections between feminist, queer, indigenous, ecological, and anti-poverty struggles. The fight against Western hegemonies and the exploitation of raw materials and the environment are also critically explored.
At the Württembergischer Kunstverein, Galindo and Lutz display six drawings that are visually and linguistically reminiscent of the tradition of protest signs. Drawn by Lutz and with accompanying texts by Galindo, they were originally conceived as part of a series of props for a performance by Galindo during the first large-scale public gathering of Bergen Assembly 2019, which took place on June 15 of the same year from 7 to 9 pm. Titled la piel de la lucha, la piel de la historia (the skin of battle, the skin of history), Galindo both opened the gathering with a ritual and, more than half a day later, closed it again with a performance that has confronted the history of abuse against women with non-normative perceptions of womanhood.

Niklas Goldbach
b. 1973 in Witten, Germany; lives in Berlin, Germany

Album (cut together – cutting through), 2020
Video installation, approx. 90’, silent
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Predominantly working with video and photography, Niklas Goldbach dissects architectural elements and concepts that serve both as backdrops and catalysts of (neo)liberal and (neo)colonial subject construction. For this first part of the exhibition series Goldbach premieres his video installation Album (cut together – cutting through). Conceived as an ongoing and ever-evolving work, the video amalgamates every single image taken by the artist since 2013 until the very day of its respective future installment in the exhibition. The video’s image sources consciously date back to late 2013, to the precise day that Goldbach initiated his ongoing photographic cycle Permanent Daylight. While the photographic series is a meticulously edited selection, the video installation inverts this practice and aims toward the polar opposite: by releasing every single image taken with all of the artist’s cameras and by compiling them chronologically for the duration of two frames a second, the over 65,000 images reveal the artistic process behind the selection of that one image. They bare every facet of a contemporary life in pictures by renouncing the distinctions between work and leisure, the public image and the very private image, the documentation of excessive joy and intimate pain. Here, the stream of images activates a stream of consciousness on one’s own ordinary and not-so-ordinary moments, narratives, and images, one’s own celebrations of a time-bound and vulnerable life.

Siri Hermansen
b. 1969 in Geneva, Switzerland; lives in Oslo, Norway

Addet Àndagassii / Om Forlatelse / Apology
, 2014
Video installation, 24’
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Paragraph 108 of the Norwegian Constitution says: "The state authorities are required to make provision to ensure that the Sámi peoples can retain and develop their language, their culture and their social life." This paragraph, which was added to the constitution in 1987, is regarded as important security for the preservation of the culture of the Sámi people. Nonetheless, their culture is threatened by economic interests that covet the rich natural resources in the northern hemisphere. Apology draws on King Harald’s official apology to the Sámi people at the inauguration of the Sámi Parliament in 1997: "The Norwegian state is founded on the territories of two peoples – the Norwegian and the Sámi … Today we must apologize for the injustice the Norwegian state once imposed on the Sámi people through policies of norwegianization." Through this official statement, King Harald surpassed his constitutional, rather symbolic and unpolitical role, and delivered a juridical tool to the Sámi people of Norway. The video work includes conversations with the former president of the Sámi Parliament Ole-Henrik Magga, law professors Kirsti Strøm Bull and Carsten Smith, and author and activist Marion Palmer. Additional footage from the Tromsø Museum shows the Deep River Boys and Nora Brockstedt performing the song Voi Voi. With this song, about a Sámi girl, Brockstedt represented Norway for the first time at the Eurovision Song Contest in 1960.

Suntag Noh

b. 1971 in Seoul, South Korea

Vertigo
, 2000-19
Series of photographs on workers’ struggles in South Korea
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It was early dawn at Ulmildae, a gazebo on the cliff in Pyongyang, on 29 May 1931. A woman of short stature, dressed in a traditional white jeogori jacket and black skirt, was balanced on a tightrope of woven cheesecloth, crawling precariously over the tiled roof. The height was said to be five metres, but the gazebo was built on an 11-metre-high embankment. A fall would have meant certain death. Indeed, she was prepared to die. The cheesecloth was meant to be used to hang herself. But she changed her mind. She crouched on the roof and greeted the morning. It was only when people flocked together below that she began to cry out: 'Murderous working hours and low wages! The abuses of factory owners who cut even those wages and fire people right and left!' The woman calling out the denunciations was Kang Ju-ryong, a worker at the Pyongwon rubber factory. After a protest lasting nine and a half hours, she was arrested by Japanese police. She was fired from her job as a result, but her actions helped workers block a pay reduction. Kang Ju-ryong, who passed away at the age of 31 in a ghetto the following year, was the first of the 'high-wire protestors'.
More than eight decades have passed since then. Are we living in a different world? The past 15 years have seen more than 100 instances of workers risking their lives to hold high-wire protests on factory smokestacks, traffic monitoring towers, advertising towers, high-voltage transmission towers and bridge piers. Various statistics show that South Korean workers work the longest out of all the OECD countries, yet are faced with poor working conditions and extremely precarious employment. Courts have ruled several times to punish businesses for illegal or questionably legal employment practices and layoffs, but people who are proficient with the law have always been able to find a way around. The powers that be have always sided with business, and business itself has been the power.At this moment, there are workers who are screaming for life in high and dangerous places somewhere in Korea. Do we ask why these situations keep happening, or do we ask what causes these situations to stop or continue? The question is now one that induces vertigo. Workers who have come back down to earth after a long high-wire protest have often complained of ‘landsickness’. Landsickness is both simile and metaphor. The cries of Kang Ju-ryong from the Ulmildae roof in 1931 and the demands of workers in 2019 meet even today in the skies. Islands have not only existed on islands – there have also been islands on land. (Suntag Noh)

PEROU / Sébastien Thiéry

PEROU – Pôle d'Exploration des ressources urbaines (Urban Resources Exploration Cluster)

Considérant ...
(In view of this ... ), 2013
Video, 28'35"
Director: Sébastien Thiéry, voice: Yves-Noël Genod
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PEROU is a collective that deals with processes of urban exclusion. The video Considérant documents the process, the success and the destruction of a project in a Roma settlement in Ris-Orangis near Paris in which Roma, locals, artists, architects, students and others were involved. Together they had renovated the settlement, built a meeting place, worked and celebrated festivals: among others with the flamenco dancer Israel Galván. This process is traced on the picture level - until the brutal demolition of the settlement by the police. On the sound level, the letter written by the authorities to justify the destruction is read out: a technocratic, paternalistic litany of the dangers that the project allegedly held.

Pedro G. Romero and others
born 1964 in Aracena, Spain, lives in Sevilla, Spain

Canciones de la Guerra Social Contemporánea
(Songs of Contemporary Social War), 2019
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In the late 1970s, Guy Debord made frequent trips around the Iberian Peninsula. In Spain and France, with Miguel Amorós and Jaime Semprún, he was in contact with the Autonomist movement, under names such as Los Incontrolados and Unos Iconoclasistas. It was in this context that he decided to put together a songbook of what he euphemistically described as the 'Spanish neo-democracy'. Needless to say, Debord was thinking of the songs of the civil war he sang by heart, of the popular songs compiled by Federico García Lorca and sung by La Argentinita, and of his relationship with the left-wing exiled Spanish, Latin American and European singer-songwriters living in Paris. In 1968, Debord had already made a version of the popular song Ay Carmela, in French, adapting it to reflect the Stalinist repression of the CNT and POUM on the streets of Barcelona in May 1937. Debord published his first compilation in a booklet entitled Canciones de la Guerra Social Contemporánea (Songs of the Contemporary Social War) in 1981, attributing authorship to Unos Iconoclastas. He also tried to organise an initial recording in support of the members of the Autonomist groups imprisoned in Segovia, with Mara Jerez and her 'flamenco boys’ and a combo in the spirit of Paco Ibañez. But neither the underground Automonist organisations nor Mara Jerez embraced the idea. Debord explored the utopian idea of Spanish or Iberian identity, and what he had at some stage called the 'new Babylonians': Roma, flamenco artists, anarchists, exiles and workers, singing their defeats.
Canciones de la Guerra Social Contemporánea
(Songs of the Contemporary Social War) is a project by Pedro G. Romero, who has been endeavouring to reconstruct and put into circulation the songbook assembled by Debord under that title. Twenty-seven songs are presented in different ways – in compilations, concerts, performative presentations and grouped together with informational material. Aside from the artists present in Bergen, artists contributing to the project include: Kiko Veneno, Maria Arnal, Christina Rosenvinge, Lorena Álvarez, Maialem Lujambo, Rocio Márquez and Rosalia.

María Salgado / Fran MM Cabeza de Vaca

M.G.: born 1984 in Madrid, Spain; lives in Madrid, Spain

Nana de esta pequeña era (Lullaby of this Little Age), 2019
Video by María Salgado / Fran MM Cabeza de Vaca. Part of the project Canciones de la Guerra Social Contemporánea (Songs of Contemporary Social War) by Pedro G. Romero and others
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The video is based on Guy Debord's 1981 conducted Nana de la Zarzuela (Zarzuela Lullaby), a reinterpretation of Federico García Lorca and La Argentinita's recording of the popular song Nana de Sevilla (Sevilla Lullaby) from 1931. María Salgado and Fran MM Cabeza de Vaca have studied Nana de la Zarzuela as part of the project Canciones de la Guerra Social Contemporánea initiated by Pedro G. Romero, which deals with Debord's adaptations of songs from the Spanish Civil War. They have rewritten it in the form of a lullaby for the present and its disruptions. Step by step the original song is made to disappear. The ideal lullaby, according to Lorca, would be one that requires only two notes.

Ilhan Sayin

b. 1971 in Istanbul, Turkey; lives in Istanbul, Turkey

Bergen, 2014
Drawing, pencil on paper, 22 x 30 cm
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The Istanbul-based artist Ilhan Sayin predominantly works with drawing and watercolor, his motifs ranging from reduced landscape studies and sceneries that suggest tumultuous visions of apocalypse or origin to lavishly depicted ornate grooming rituals. For the exhibition, Sayin presents his eponymously titled portrait of the Turkish singer Bergen (1958–1989). During Bergen Assembly 2019, the drawing was installed in the newly established public space of the triennial that was named Belgin – in honor of the life story of the singer who adopted her alias after the Norwegian harbor city. In Stuttgart, the drawing continues to pay homage to the singer’s status as a complex symbol of both domestic violence and feminist resistance. By placing her seeing, admonitory eye at the very center of the drawing, Sayin calls attention to the prevalence of domestic violence.


Sunaura Taylor
b. 1982 in Tucson, Arizona, USA; lives in New York City, New York

Wildlife
, 2014
Oil paint on pages of Wildlife photography book, 9 digital prints / facsimile, 30,5 × 30,5 cm, each
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Sunaura Taylor, who creates her artistic work with the mouth, has painted representations of her own naked body onto various page of a Wildlife photography book, belonging and binding with what are considered wild animals, from polar bears to wild oxen, to assert their subjectivities within a exponentiated vulnerability in the moment of environmental catastrophe.

Åsa Sonjasdotter
b. 1966 in Helsingborg, Sweden; lives on the island of Ven, Sweden

Cultivating Stories, 2019
Video installation, poster prints of historical photographs, HD video, cultivation of grain
Co-produced by Bergen Assembly 2019
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Cultivating Stories
continues Åsa Sonjasdotter’s long-standing research into the history of plants and their cultivation. It was made in collaboration with Spesialkorn, the Norwegian Heritage Grain Association, and the Swedish plant breeder and agronomist Hans Larsson. The work consists among other things of posters with photographic documentation of historical plant breeding in Sweden and a film made in collaboration with Larsson, it  documents the propagation and breeding of genetically and morphologically diverse heritage grains, depicting the recurrence and rhythm of plants through cultivation.
The work opens up a conversation on ways of understanding and narrating the multispecies material practice of “cultivation,” where the dimensions of time and rhythm in living matter are crucial and complex factors. The varieties in Spesialkorn’s seed bank have all been restored, dissipated, and returned to cultivation proper by Hans Larsson. The contribution of historical photographic material to the project brings a deeper understanding of how the activities of Spesialkorn relate to political matters of (our) time.

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