curator: Basak Senova
artists: Negar Tahsili, Hristina Ivanoska
venue: Shedhalle
coordinates: Zurich, 2007


A selection of Documentations and video works of and on self-organised working contexts moderated by Madeleine Bernstorff, curated by Alex Gerbaulet, Lydia Hamann/Benjamin Cölle/Brighid Mulley, Emma Hedditch, Israeli Center for Digital Art, Johannes Raether/Robert Burghardt, Bärbel Schönafinger/Tobias Hering, Basak Senova, Ian White, The Copenhagen Free University, Christine Woditschka/Sylvia Schedelbauer.


The selection is in subtle opposition to axiomatic impositions of any kind. Two animations indicate the same cynical approach to a shared disposition of falsehood. There are considerable gaps among the perceptions of reality about the devastating acts happening on the globe. What is the actual perception of the people who experience it first hand? What are the local and global effects and consequences of the acts? What about the contradictory reports that emanate from the information channels and alternative sources? What we are left with, ultimately, are the misperceptions that have taken their effects on diverse realities. In this respect, the semi-documentary tone of these animations strengthens the fictional richness that re-animates the effects and the reactions of diverse perceptions. The existence of these diverse perceptions entails the present compulsions of globalisation that produce pressure, excess, and insecurity for any kind of view. Hence, the only tangible tool to clear one’s vision is the potential defence and survival mechanisms based on self-organisation.

Of One Essence…
Negar Tahsili
Iran 2004, 2’30”, colour

The title of the animation is taken from the infamous poem of the Persian poet Saadi that is used to grace the entrance to the Hall of Nations of the United Nations building in New York.

„Of one Essence is the human race,
Thusly has Creation put the Base;
One Limb impacted is sufficient,
For all Others to feel the Mace.“

The work operates by simulating diverse realities filtered by televised media; it clearly shows our altered perceptions and the grand illusion of what is known as the objective reality of information.

What’s Behind (The Urban Prototypes Project)
Hristina Ivanoska
Macedonia 2003, 3′, colour

The animation is an attempt to frame the nomadic imprint of the contemporary refugee. Through many concerns orbiting around survival, security, freedom, self-sufficiency and life-standards, the projected scenes correlate with different modes of survival and existence under the present circumstances of globalisation. Gadgets and wearable functonal nomadic tools propose new possibilities and mindsets for a self-organised way of living.

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