Pavilion Unicredit: The Office for Anti-Propaganda

Joi, 27 Octombrie, 19:00

DIALOG
Marina Naprushkina in dialog cu Eugen Radescu
    
PAVILION UNICREDIT
Bd. Nicolae Titulescu nr. 1 (Piata Victoriei)
Bucuresti, Romania

O discutie despre o realitate aparent indepartata, despre o societate aparent inchisa si despre cum putem sa ne atribuim argumentele unei democratii autentice in conditiile esecului totalitar si al lectiilor democratice.

The Office for Anti-Propaganda” a fost fondat in 2007 in Frankfurt. ”Biroul” produce o arhiva de filme, texte si alte materiale avand ca subiect propaganda politica. Atentia este indreptata catre Belarus deoarece modelul sau politic poate fi transferat altor tari din Europa de Est si din America Latina, tari de la care Belarus primeste suport politic. De asemenea, acest stat poate fi privit drept un exemplu remarcabil despre cum infiintezi un dictatoriat modern si cum fac fata democratiile vestice problemei.

The Office for Anti-Propaganada” este rezultatul unui proces indelungat de culegere si arhivare a materialelor propagandistice originale si a lucrarilor mai multor artisti. Lucrarea este prezentata ca o instalatie sub forma de arhiva, la care orice vizitator poate avea acces: poate sa aleaga si sa vizioneze video-urile, sa citeasca corespondenta dintre birou si autoritatile Germane, sau poate parcurge literatura ideologic-patriotica din Belarus.

Marina Naprushkina s-a nascut in 1981 in Minsk, Belarus. Lucrarile ei sunt un mix de domenii pornind de la pictura, video si instalatii menite sa dezvolte examinarea critica a puterii si structura Statului, utilizand adeseori materiale obtinute din Belarusul de astazi. O sursa bogata o reprezinta materialele propagandistice oferite de catre institutiile guvernamentale. Imaginile obtinute, fie ca se schimba rapid fie că pot fi introduse in contexte diferite cu scopul de a schimba mesajul original. Stradania artistei de a diseca structurile vizuale si lingvistice ale regimului autoritar, demonstreaza maniera in care autoritatea statala afecteaza societatea si transforma democratia intr-o iluzie a celor ce traiesc sub hegemonia persistenta a retelei de guvernamant.

Eugen Radescu (n. 1978) este politolog (specializat in relativism moral si etica politica), manager cultural, curator si teoretician. A scris pentru diferite reviste si ziare. A fost, printre altele, curatorul Bucharest Biennale 1, cu tema “Identity Factories” si al expozitiei “How Innocent Is That?” la Pavilion Bucuresti. A publicat cartea “How innocent is that?” la REVOLVER BOOKS, Berlin. Este co-editorul PAVILION – journal for politics and culture si co-directorul Bucharest Biennale (impreuna cu Razvan Ion) si președinte al board-ului organizational al PAVILION UNICREDIT si Bucharest Biennale. Este profesor la Universitatea Bucuresti si Universitatea Babes-Bolyai, Cluj Napoca. Locuieste si lucreaza in Bucuresti.

Imagine: Cartea de colorat “My daddy is a policeman. What is he doing at work?” a aparut ca parte a campaniei “Beware, police!” a societatii civile, impotriva violentei exercitate de politie in Belarus.

A discussion about a not so close reality, about a closed society and about how we can manage to discuss arguments about a real democracy when we have to deal with failure of democratic lessons.

“The Office for Anti-Propaganda” was founded in 2007 in Frankfurt. The “Office” produces an archive of videos, texts and picture material on the subject of political propaganda. The focus is on Belarus because but its political model can be transferred to some other East European and Latin American countries from which Belarus gets political support. Belarus is also an outstanding example of how to establish a modern dictatorship and how the western democracies handle this “problem”. “The Office for Anti-Propaganda” is the result of long-standing work in gathering and archiving the original propaganda material and the works of the artists. It is shown in the form of an installation with an archive, which every viewer can use: select and watch the videos, read correspondence between the office and German authorities, or page through the original Belorussian “patriotic” ideological literature.

Marina Naprushkina, born 1981 in Minsk, Belarus. Her works is a range of media including painting, video and installation to develop critical examinations of power and the structure of the State, often using material acquired from contemporary Belarus. A rich source is the propagandistic material delivered by governmental institutions. There so obtained images and symbols become either slightly changed or inserted in a different context in order to reverse the original message. The artist’s painstaking dissection of the visual and linguistic structure of the authoritarian regime and research-based works demonstrate how state authority affects society, and transforms democracy into an illusion for those living under the persistent hegemony of the ruling network.

Eugen Radescu (b. 1978) is politologist (specialized in moral relativism and political ethics), cultural manager, curator and theoretician. He writes for various magazines and newspapers. He curated, among others, Bucharest Biennale 1 with the theme “Identity Factories” and “How Innocent Is That?” at Pavilion Bucharest. He published a book “How Innocent Is That?” at REVOLVER BOOKS, Berlin, Germany. He is co-editor of PAVILION – journal for politics and culture and co-director of Bucharest Biennale (with Razvan Ion) and the chairman of the organizational board of Pavilion and Bucharest Biennale. He is associate professor at Bucharest University and Babes-Bolyai University, Cluj. Lives and works in Bucharest.

The coloring book “My daddy is a policeman. What is he doing at work?” appeared as a part of the civil campaign against police violence in Belarus “Beware, police!”, credits: office for anti-propaganda.