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Apfelfront Gala am 28. November in Leipzig – und endlich: das Buch zur Bewegung!

“Katzenfreunde und Schäferhundliebhaber: Die Front Deutscher Äpfel feiert ihren 10. Geburtstag und hat der Welt ein Buch geschenkt (“Das Buch zur Bewegung”, 224 Seiten, mit Martin Sonneborn, Alf Thum, Max Upravitelev, Leo Fischer uvw., 19,90 Euro). Nach ervolkreicher Krautfinanzierung präsentiert die Apfelfront ihr Machwerk und feiert sich selbst, ihre Anhänger und ihren geliebten Führer. Der Ruf ergeht wie ein Donnerhall, denn die Apfelfront formiert sich und aus 1000 Kehlen klingt es: “Ein Jahrzehnt! Ein Werk! Ein Führer!”. Aus allen Gauen des Reiches strömen sie am 28. November nach Leipzig, in die Mutterstadt der Bewegung, dahin wo am 3. Oktober 2004 alles anfing. Aus diesem Anlass hat jüngst der Führer selbst ein Buch diktiert, sodann in jeder gutsortierten Buchhandlung erhältlich. Zu Ehren dieses heiligen Anlasses richtet die FDÄ eine Gala aus, wie sie das Reich noch nicht gesehen hat. Sie werden durch einen Abend geführt, der an die Höhepunkte und glorreichsten Taten erinnert, gespickt ist mit boskopistischer Volksmusik und famose Überraschungsgäste bereit hält. Der boskopistische Kunstbeauftragte Raffael Jesche kuratiert eine Ausstellung, die die 10’000-jährige Vorgeschichte der Apfelfront beweisen wird.”

Auch sehr lesenswert, die “Thesen über Satire als angewandten Punkrock”: “Die Provokation ist in der Krise! Längst von Marketingagenturen adaptiert, versucht sich heute vor allem die bürgerliche Rechte in deren Ausübung und agitiert gegen alles, was vermeintlich politisch korrekt erscheint. Linke Bewegungen haben dagegen das Mittel der Provokation fast vollständig verlernt und beschäftigen sich lieber mit hippieskem Hedonismus und sprachkritischen Zärtlichkeiten.” Alle Thesen hier.

Natürlich unterstützen wir solche Agitationen in vollem Umfang und stoßen mit einem Apfelschorle auf Euch und die nächsten 10 Jahre an! Und wünschen: Heil Boskop!

Watchlist: Ivan Mudov

Fake-Museum & gestohlene Kunstwerke: Wunderbare Performances und Interventionen des bulgarischen Künstlers Ivan Mudov. Via Tracks/Laurence, merci!

Memefest 2014: Die Gewinner


Cleber Rafael de Campos: “I have NOT read and agree to the terms of use”. “Despite the internet is a place for freedom of speech and participatory culture, most of our time online is passed inside the walled gardens of social networks. In my project I meant to show that you are just as free online according to the corporations rules you network with. It’s a newspaper that has the aim to make explicit the content inside top 6 social network’s terms of use.”

Jasna Jernejšek: “Barbie World is Beautiful”. “Barbie World is Beautiful is a parodic photographic series in which I transfer the everyday, often stereotyped, life situations into idealized environments of the Barbie world.”


Daniele Torcellini: “Selfie”. “The images are digital collages where the heads of famous painters have been cut from their self-portraits and pasted over the bodies of celebrities or common people who took selfie.”


Berrak Eyiceoglu: “Earth Table”. “This project is inspired by a series of collective dining events, which was organised by an activist group called “Anti-capitalist Muslims” from Turkey, happened during the riots in Istanbul 2013. The event was a reaction against the wild-capitalist and discriminatory politics of the current pro-Islamist government via public space interventions. The idea was simple: They organised Iftar meals (the evening meal during Ramadan) at Taksim square that the participants sit on the bare ground, bring some simple home-cooked meal and share it with anonymous people.”


Julien Boisvert: “Sponsor a Wealthy Child”. “SaWC is a transmedia game that upends the logic of aid. Families from the South come to the rescue of Western children suffering from “relational poverty”. Three infomercials tell the stories of these children “in need” by copying the aesthetic used by NGOs. An interactive platform allows users from the South and from the West to be paired.”


Ren Fah / Anna Mitterer: “The Lament Chorus”. A performance by the Artgroup ­Dithyrimbaud. It should take place as an intervention in different public locations (topi). The Lament translates feelings of pain, loss and mourning, that especially in former Yugoslavia follow the traces of violence and forced separation. This intervention tries to find those places, where the inscribed history of the public places, during the forced separation, surfaces.”


Christian Zöllner, Sebastian Piatza, Julian Adenauer: “Ready to Cloud”. “Imagine! Teleportation as we all know from Star Trek can be possible! Or even nearly. With the Ready to Cloud project we propose a first trial on simulating a teleportation system within the possibilites of off the shelf materials.”


Matt Kulesza: “1000+ Coffees“. “I plan to have a one-on-one coffee with every single one of my 1000+ Facebook “friends” over the space of the next three years, or as long as it takes to complete.”

Und hier sind sie: Die Gewinner des diesjährigen MEMEFEST-Festivals – wieder einmal eine wahre Schatzkammer an großartigen, politischen und subversiven Projekten aus den Bereichen Kunst, Design und Technik. “Dialogue is tirelessly presented as ‘the’ solution to the problems of ‘our’ times – in art, war, love, democracy and even in the workplace. In fact, dialogue has been central to the ethos of Memefest since its inception back in 2002. But what if dialogue is not working? We were convinced that an urgent fresh look, an updated reflection on the current states of dialogue in an increasingly anti- dialogic culture is very necessary. Curated by Alana Hunt and Oliver Vodeb, RADICAL INTIMACIES: DIALOGUE IN OUR TIMES was the theme of this year’s Memefest. We were trying to ask a difficult question in order to honestly explore all the complicated failures and the hopeful potentialities that feed our faith in dialogue – politically, creatively, laboriously and intimately. People from 26 Countries around the world have responded to our call and have been working on many of the challenging aspects of Dialogue. More than 250 works in the categories Visual communication practice, Critical writing and participatory art have been submitted to this years Friendly Competition.” Und hier gibt´s alle ausgewählten Arbeiten zu sehen.

Dadara: “Like 4 Real”

“Likes sind das neue Opium für das Volk”, behauptet der niederländische Künstler Dadara und hat deshalb einen neuen spirituellen Weg zum “Enlikement” entworfen – inkl. Zeremonien, Predigt/Manifest und einem ganz eigenen optischen Universum. “I thought you might Like this. Yesterday we organized the funeral of the Like in Amsterdam. A ceremoney led by Eddy Reefhuis, the reverend of the Oude Kerk, the oldest church of Amsterdam. With a choir and a movie made at the Like 4 Real installation at Burning Man. And then we went into town with a procession following the Like coffin. One of the highlights was our detour through the Apple store.” Via: Mail, thx!

Watchlist: Tomáš Moravec


Video: “Pallet”, 2008: “The space between the tram tracks in Bratislava is 435 mm narrower than the gauge of tracks in Prague or Pilsen (1435 mm). The wooden europallet, a basic feature of any warehouse or storage hall, with its standartized 1200×800 mm dimensions, when modified can only run on the tracks in Bratislava. A new transport vehicle brings change into the spatial perspective of a passenger in motion and generally changes the life of the city, through which the pallet can run, guided by a map of the city lines.”


“Marked out”, 2008, “definition of the game in the inappropriate places”, with Matěj Al-Ali


“False grounds”, 2011, together with Matěj Al-Ali: “Visually expectable nonsense object in an unfinished building passages. Sliding excavation as a symbol of the constant transformation of the space. The planned choreography of everyday shift to another position.”


“White man disease”, 2008: “Images created by light in the public space.”


“Situation: Question of superficial affection”, 2013, “a processual series of sculptures that will be ‘served’ to the audience.”

Eine wunderbare Entdeckung: Der tschechische Künstler Tomáš Moravec. “Tomáš Moravec gained his Master in Arts (MgA.) at the intermedia department of Academy of Fine Arts in Prague, Czech Republic in 2012. His works could be described as “spatial situations”, mostly realized by means of object, video and installation. Interventional gesture, altered dispositions of surroundings, deflecting the viewers perspective, temporary objects or subtle installations are among the most significant points in his outcomes. The production of “change”, perceived both as a natural quality and the striving need, could be the unifiing subject matter of his previous works. Often realized common projects with Matěj Al-Ali, Petr Dub or Roman Štětina than promote the open space to thematize the artistic colaboration or react towards public and exhibition space.” Via: Mail, danke Robin!

Fra.Biancoshock & Guildor: “Flying trash”

Die neue Performance von Fra.Biancoshock & Guildor in Mailand. Via: Mail, thx!

Jani Leinonen: “Hunger King”

Trotz massiver Proteste hat das Budapester Stadtparlament umfangreiche Sperrzonen für Obdachlose beschlossen. Die Betroffenen dürfen demnach alle Orte, die zum Weltkulturerbe zählen, nicht mehr als Aufenthaltsort benutzen, ebenfalls tabu sind zudem 29 Unterführungen und der Umkreis von 100 Metern um Kinderspielplätze, Schulen und Friedhöfe. Der finnische Künstler Jani Leinonen hat dies nun für seine neue Aktion “Hunger King” thematisiert: “Máté Kocsis, the mayor of the 8th district of Budapest has said that “if we don’t push homeless people out, we will end up being pushed out by them”. The sentence crystallizes the new political attitudes towards poverty not just here in Hungary but also in many other Western countries that used to promise to protect those who could not protect themselves. It crystallizes other things too. First, Hungarian governments wide campaigns to criminalize homelessness is a diversion to draw attention away from the states failure to achieve the promises of the regime change. Hungarys economy is today in a worse state than it was during state socialist regime: more than 1 million people, or 12% of the population, live below the poverty line (Ferge 2012), one million Hungarians cannot heat their homes properly and the occurrence of cold-related deaths is 10 times higher than in other developed countries (Habitat for Humanity Magyarország 2012:10).

Second, those who dismiss the homeless and dependent as “parasites” fail to understand economics and parasitism. A successful parasite is one that is not recognized by its host, one that can make its host work for it without appearing as a burden. Such is the ruling class in a capitalist society. Hungarian situation depicts a global problem. The political and economical elite has screwed things up, and now they are using every trick in the book to ensure their power even though another world is becoming inevitable. You can sell oppression as emancipation, impoverishment as enrichment and the formalities of participation as substantial democracy only for so long until people notice.

The ruling system is doing its best to paralyze our capacity to think about alternatives. Although majority of Hungarians think the country is on the wrong track, they also believe there is nothing they can do to change the direction of the politics. My view is very limited but I was surprised how many journalists, academics or social workers I interviewed working in institutions funded by the government cannot speak out in public because they fear loosing their job or funding. I am not saying Hunger King will speak for them but at least it draws attend to one of the most pressing issues in contemporary Hungary. It shows in a very direct way how in equally people are treated based on their social and economical status. Its my job as an artist to encourage people to imagine alternative social and political arrangements. Hunger King is a call for social and political engagement, a call for change.

Whether you love them or hate them, in Hunger King everybody can send their greetings directly to the rulers of Hungary. We will deliver the messages. 6.6.2014 in Budapest, Jani Leinonen

PS. For the information and quotes thanks to Éva Tessza Udvarhelyi, Jason Read and Slavoj Zizek.”

Peng Collective: “Google Nest”

Google stellt auf der re:publica vier neue, absurd privatsphäre-feindliche Produkte vor. Politiker und Bürgerrechtler reagieren empört. Doch es war alles nur Show aka das Peng Collective. “Kurz danach erhielten die Pengs eine nette Mail von Google voller Markenrechts-Bullshit. Nun haben die Pengs die Copyright-Spezis der Electronic Frontier Foundation an Bord geholt und die antworten mit ziemlich einleuchtenden Fair Use-Argumenten“. Darum geht´s: “Drohnen, die auf Menschen aufpassen, Programme, die die Bedürfnisse der User erkennen. Google stellte am zweiten Nachmittag der re:publica seine neuen Produkte von Google Nest vor. „Google Trust“ soll bei Hacking informieren, „wir wollen das Vertrauen der Nutzer zurückgewinnen“, sagten die Moderatoren Paul von Ribbeck und Gloria Spindle. Die Funktion „Google Hug“ soll durch die Analyse der digitalen Kommunikation des Nutzers, seinen Bewegungen und dem Klang der Stimme, seine Stimmung erkennen und helfen. Und die Drohne „Google Bee“ soll nicht nur via Livestream auf die eigene Familie aufpassen können, sondern auch noch Müll aufsammeln. Glauben Sie nicht? Dann liegen Sie richtig. Hinter der Show steckt unter anderem Jean Peters, Berliner Aktionskünstler und früherer taz-Kolumnist.” Via

Watchlist: Karl Philips


“Genk-Blankenberge-Genk”, 2014: “The performer sits down in the luggage space of a railway carriage. Wearing a sweater knitted in a pattern resembling the seats of a regular NMBS train, he travels from the east of Belgium to the west and back for free. He pretends to pretend he’s a piece of luggage or furniture.”


“Colruyt”, 2014: “The seemingly circular relationship between customer and market gets an extra loop when the performer brings a food tray into a supermarket and attaches it to a shelf. He buys food in the store, comes back in and puts the food on the tray, free for people to take.”


“Wedge”, 2014: Opening up a bank by placing a wooden wedge under the door, the space evolves from semi-private to public. This intervention was performed by circa 20 people at the same time on different locations in Brussels.


“No Title”, 2013: “In No title, a street lantern is hacked. The structure is suspended by wooden wedges, supported by gravity and the weight of the installation. The wedges used in this piece gain a monumental aspect by offering a counterforce to the downward pull of gravity. Recalling a PA-tower as well as a prison watchtower, this structure is a pirates nest for its inhabitant, offering free wif and power.”

“7 Square Metres (Roskilde)”, 2013: As part of the bigger project 7 Square Metres, Karl Philips staged a performance at the Roskilde Festival 2013, hiding a caravan on the festival grounds and unveiling it right before the concert of Metallica. The organisation was not notified in advance. The resulting experimental documentary (expected for the end of 2014, in collaboartion with director Pascal Poissonnier) explores the question whether there is still such a thing as underground.


“Good / Bad / Ugly”, 2012: “Three mobile living units – The Good, the Bad, and the Ugly – adopt the language and shape of advertising to blend into and temporarily occupy the public space. The modules were inhabited by nomadic performers, who financed their living by the sale of the advertising space that literally encapsulates them.”


“Shed”, 2011: Extending the environment, a basic open living space with its own power supply was sculpted onto the back of an existing billboard. Everybody was free to take place in this brightly lit, social sculpture.


“Concierge”, 2010: A homeless shelter, made on size of a Clear Channel billboard. Mia lived there for four months and acted as a spokeswoman for the work.

WOW! Meine Neuentdeckung des Monats! I ♥ Karl Philips! “Karl Philips is an emerging young Belgian artist for whom a mild kind of activism is inextricably linked to his work. With his ‘performing art’, he explores the distinctions between public and non-public, common- and underground, ‘us’ and ‘them’. To capture and represent his actions, Philips uses various disciplinary methods, often assembled into one (unconventional) monumental installation, where he firts with the boundaries of what is possible or even legal. His work is the result of the interconnectedness of his practice and way of life – for Karl Philips, art is never non-committal.” Via

QR-Code-Hacking: “Liebe kennt keine Grenzen”

QR-Code der FDP-Wahlplakate gehackt: “Eigentlich sollen sich Wähler, die sich für die Arbeit von Alexandra Thein interessieren, über den QR-Code auf ihrem Wahlplakat über die Arbeit der FDP-Politikerin informieren können. Doch Unbekannte haben die Bilder überklebt – und die Wähler landeten auf einem Sex-Film mit dem Namen “Liebe kennt keine Grenzen”.” Via/Via