European project vropski projekt The Uses of Art – The Legacy ot 1848 and 1989
Over the past four years, L'Internationale and its partners have worked in the current unstable geopolitical and ecological constellation to activate the values of culture and international collaboration. What specific contribution can museums and cultural institutions offer to counter the plural crisis of today's fragmented globalised society? How can specificity, research, dialogue and difference be constructively activated in the institutions of culture to build lasting friendships between communities?
This spring, The Uses of Art programme culminates in a series of simultaneous activities, linked through L'Internationale Dialogues: a rich programme of engaged professional dialogues. This programme is launched with a full day of live broadcasts of discussions, performances, and live tours through the new exhibitions, on 27 April, via L'Internationale Online.
In order to discuss four pertinent questions, L'Internationale Dialogues invites leading thinkers, artists, activists and cultural workers to address our current global predicament:
Who is speaking? Representation and non-representation in (art) politics today
What is true? Populism in the era of post-truth
What needs to change? Transformations and futures of institutions, social design
Where is South? Knowledge and epistemologies of the Global South
The full programme on April 27, 2017 can be found on www.internationaleonline.org. It includes:
Evidence, Activism and the Law in the Age of Post-Truth (live)
Baltasar Garzón in conversation with Yolanda Álvarez and Manuel Vergara, with the participation of Rosario Güiraldes, Christina Varvia and Eyal Weizman (Forensic Architecture) at Museu d'Art Contemporani de Barcelona (Barcelona, Spain).
Congresso Internacional Extraordinário dos Críticos de Arte, 1959 (live)
A new artistic reading will be broadcast based on the documentation of this historic congress that took place in Brazil. Participants included Mário Pedrosa, Meyer Schapiro, Giulio Carlo Argan, Bruno Zevi, Jorge Romero Brest, Tomás Maldonado, Frederick Kiesler and Eero Saarinen. Organised at Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain).
Who is Speaking? Representation and Non-Representation in (Art) Politics Today (live)
A Dialogue with Paola Bacchetta and Françoise Vergès, at KIOSK and KASK / School of Arts Ghent (Ghent, Belgium).
Epistemologies of the South
A dialogue with Zdenka Badovinac, Patrick Flores and Jesús Carrillo, recorded at Moderna galerija (Ljubljana, Slovenia).
Art Museums and Democracy
A dialogue between Manuel Borja-Villel, Bart De Baere and Charles Esche, recorded at Museu d'Art Contemporani de Barcelona (Barcelona, Spain).
A dialogical tour through The Making of Modern Art
A Dialogue with Quinsy Gario and Steven ten Thije, at Van Abbemuseum (Eindhoven, The Netherlands).
A conversation about the project A Temporary Futures Institute
A Dialogue with its co-curators Anders Kreuger and Dr. Maya Van Leemput, at M HKA (Antwerp, Belgium).
Throughout the summer, L'Internationale Dialogues will host dialogues such as:
Chantal Mouffe with Didier Eribon Silvia Rivera Cusicanqui and Marina Garcés Aslıhan Demirtaş and Amy Franceschini and more.
L'Internationale's summer programme of exhibitions includes:
Moderna galerija (Ljubljana, Slovenia). 26 April – 17 September 2017
The Heritage of 1989 / Case Study: The Second Yugoslav Documents presents a re-enactment of the last big art exhibition in Yugoslavia. Titled Yugoslav Documents ’89, it was curated by the artists Jusuf Hadžifejzović and Rade Tadić and realized under the auspices of the ZOI ’84 Olimpijski centar Skenderija in the 8,000-square-meter Skenderija Center in Sarajevo in 1989.
As a form of presentation, re-enactments, to be sure, have a long history, going back to Roman times. In the twentieth century, certainly one of the most famous re-enactments was staged in 1920 for the third anniversary of the October Revolution. Such replayings of historical events have an affirmative role. Compared with other forms of commemorating important anniversaries, they can incorporate spectators in a more dynamic way, allowing them to be actively involved in the commemoration. Artistic re-enactments, on the other hand, most often open up suppressed, traumatic, and ambiguous aspects of the event, attempting to recreate it in a way that also underscores the current interest in alternative readings of history. The re-enactment form, therefore, is also concerned with the future, for in its attempt to cleanse the past it proposes alternative possibilities for social action.
Mário Pedrosa: On the Affective Nature of Form
Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain). 28 April – 16 October 2017
Mário Pedrosa (Pernambuco, 1900 - Río de Janeiro, 1981) was one of the foremost 20th-century Brazilian and Latin American thinkers. Pedrosa embodied the paradigm of the public intellectual committed to the debate over the future of society, both politically and culturally, and was a spokesperson in the forming of Brazil’s modern culture.
In this exhibition a selection works by artists who Pedrosa analysed articulates different plastic fields to afford a view of the subject matter he was concerned with; for instance, the introverted trends in 1950s art (from Italian artist Giorgio Morandi to Milton Dacosta and Maria Leontina); the question of Brazilian Pop Art, in which consumer society is presented as a place of conflict (Rubens Gerchman and Antonio Dias); “arte virgem”, a term coined by Pedrosa to name the art made by the mentally ill, and the Neo-concretism of Hélio Oiticica and Lygia Clark.
Forensic Architecture. Towards an Investigative Aesthetics
Museu d'Art Contemporani de Barcelona (Barcelona, Spain). 28 April – 15 October 2017
In recent years the little-known research group Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. The group uses architecture as a methodological device with which to investigate armed conflicts and environmental destruction, and to cross-reference multiple other evidence sources such as new media, remote sensing, material investigation and witness testimony.
This exhibition introduces the practice, outlining its origins, history, assumptions, potential and double binds. With these investigations and the critical texts that accompany them, Forensic Architecture examines how public truth is produced, technologically, architecturally and aesthetically; how it can be used to confront state propaganda and secrets; and how to expose newer forms of state violence.
A Temporary Futures Institute
M HKA (Antwerp, Belgium). 28 April – 17 September 2017
A Temporary Futures Institute will attempt to turn the museum into a laboratory or studio, and to bring together two contexts that have certain things in common: art and futures studies (also known as foresight). The initial impulse was to compare their two speculative domains. Perhaps they are disciplines, perhaps not. How do art and futures studies relate to knowledge? In art, the concept and practice of knowing is always contested: sometimes under-rated, sometimes over-rated, often in conflict with thinking and feeling. In futures studies, the desired object of knowledge – the various futures that might be – is per definition always absent, because it doesn't yet exist. Co-organised by Anders Kreuger and Maya Van Leemput.
The Uses of Art: Final Exhibition
SALT (Istanbul and Ankara, Turkey). 20 April – 11 June 2017
SALT's final L'Internationale exhibition attempts to provoke original responses and readings from its users of what SALT Galata, as a cultural entity, is or could be. Four artistic interventions/architectural gestures -by Abbas Akhavan, Refik Anadol, Futurefarmers, and Laure Prouvost- embrace the user through their reinvigoration of previously under-used aspects of the building and its resources, such as the archive, bringing to the foreground suggestions of different potential functions or possibilities that temporarily reframe the institution.
This is the first time that SALT has commissioned all the works in one project. The four independent positions have developed out of shared concerns and questions, in order to make a set of related, yet contrasting responses creating spaces of dissensus and conversation.
The Making of Modern Art
Van Abbemuseum (Eindhoven, The Netherlands). 28 April 2017 – 2 January 2021
Between 2017 and 2020 the Van Abbemuseum organises a series of collections exhibitions and projects. The exhibition The Making of Modern Art situated at the ground floor of the collection building - developed in cooperation with the Museum of American Art, Berlin - is part of this series. This exhibition combines modern master pieces from the Van Abbe collection, like Mondrian, Picasso, Sol LeWitt, Kandinsky and Leger, with an experimental story, which tells the ‘making of’ of the classical canon of modern art. In a set of specially designed ‘atmosphere rooms’, the exhibition addresses the role of museums, and shows how exceptional collectors and influential exhibitions contributed to the formation of the modern canon, which also lies at the foundation of the Van Abbemuseum collection. Through this exploration the exhibition reaches beyond art and explores how modern art is part of the broader modern world with its technological and societal progress, but also with its dark colonial sides.
Show Me Your Archive and I Will Tell You Who is in Power
KIOSK and KASK / School of Arts Ghent (Ghent, Belgium). 27 April – 16 June 2017
Show Me Your Archive and I Will Tell You Who is in Power combines an exhibition with a public program of lectures, panel discussions, performances and screenings to present stories from the history of feminist struggle. Issues of race, gender and class are covered from a so-called intersectional perspective, an approach that works to bring to the fore the combinations of discriminatory practices and the dynamics they engender. The project wishes to extend its scope beyond Western, white feminism and to trace the beginnings of a transnational and intersectional perspective in Belgian feminism and beyond. Co-curated by Nataša Petrešin-Bachelez and Wim Waelput.
L‘Internationale is a confederation of six modern and contemporary art institutions:
● Moderna galerija (MG+MSUM, Ljubljana, Slovenia)
● Museo Nacional Centro de Arte Reina Sofía (MNCARS, Madrid, Spain)
● Museu d‘Art Contemporani de Barcelona (MACBA, Barcelona, Spain)
● Museum van Hedendaagse Kunst Antwerpen (M HKA, Antwerp, Belgium)
● SALT (Istanbul and Ankara, Turkey)
● Van Abbemuseum (VAM, Eindhoven, the Netherlands)
L’Internationale was initiated by the Moderna galerija in 2009. Initially, it comprised five European museums and artists’ archives, and based on the shared use of collections and archives. From 2013 on L‘Internationale is running a five-year program The Uses of Art - the Legacy of 1848 and 1989, supported by the Culture Programme of the European Union.