#breakingintobusiness

AT HEAVEN'S DOOR, CYBERFEST 12 | ST. PETERSBURG Curated by Marina Koldobskaya November 23 – 28, 2012 Artists Selection Curated by Miguel Petchkovsky Morais Alex Villar (Brazil/USA), Fernanda d'Agostino (USA), Fernando Velazquez (Brazil), Carolina Redondo (Chile), Angie Bonino (Peru), Rachel Rosalen (Brasil), Sergio Ulhoa (Brasil), Cesar Meneghetti (Brasil/Venice), Mat Rappaport (USA). Artists Selection Curated by Viktoria Ilyushkina Mariateresa Sartori (Italy), Francesca Fini (Italy), Anna Jermolaewa (Austria), Tina Willgren (Sweden), Joaquin Palencia (Philippines), Rimas Sakalauskas (Lithuania) Heini Aho (Finland), Pink Twins (Finland), Hakeem b (France), AUJIK, Stefan Larsson (Sweden), Loudwig van Ludens (Germany), Anssi Kasitonni (Finland), Leyla Rodriguez & Cristian Straub (Germany), TOTART, Natalia Abalakova & Anatoliy Zhigalov (Russia). Artists Selection Curated by Sergey Komarov Laurie Spiegel (USA), Nick Edwards (UK), Don Slepian (USA), Mark Hannesson (Canada), Alex Pleninger (Russia), Quietzone.in (Russia), top40 (Russia), Motor (Russia), dropouT (Russia), Hans Tammen (USA), Kurvenschreiber (Russia), ::vtol:: (Russia), Paul Amlehn (New Zealand). Exhibition Alexandra Dementieva (Belgium-Russia), Koen Theys (Belgium), Leo Nunez (Argentina), Mariela Yeregui & Miguel Grassi (Argentina), Jean-Michel Rolland (France), Mariateresa Sartori (Italy), Elena Gubanova, Ivan Govorkov (Russia), Anna Frants (USA-Russia), Alicia Eggert and Mike Fleming (USA), Natalya Lyakh (France), Lidiya Vitkovskaya (Russia). Performances Andrey Bartenev, Patrick K. -H., Oleg Makarov, Larisa Aleksandrova (Russia), Roman Ermakov, Ivan Onoprienko (Russia), Pink Twins (Finland), Fernando Velazquez (Brasil), Alex Pleninger (Russia), Kurvenschreiber (Russia), ::vtol:: (Russia). Educational Program Interface Z (France), Erandy Vergara (Canada-Mexico), Daniil Frants (USA), Ellen Pearlman (USA), Taras Mashtalir (USA), Nataliya Fedorova (Russia). About the theme This is not about the end of the world that was, yet again, almost in earnest awaited this year. It has nothing to do with protest songs or with sad movies. This is about the fact that each day we knock on some doors. Knock and they will open. Ask and they will give. This is really so, tried and true. The question is what is in there, behind the door. Shall we be better off if we enter? Shall we be happier if we receive? If one is to see some meaning in art, it is precisely in this: go-I-don’t-know-where, bring-me-I-don’t-know-what. Behind the waterfall, in a cave filled with gold, there are either the dragon’s bones or the dragon itself, either the live-giving water of the death-giving one. Everything is arranged differently there, and we are different there. He who has not been there – consider him not to have been at all. The artist sets on his quest in order to get to that country – from whose bourn, admittedly, he hopes to return. And to bring something along. This is not a paradise – this is rather the stalkers’ zone. This is the place where one keeps going – up to a certain point, of course, and subjecting himself to irreversible changes while doing that. To find the toys there that he doesn’t understand himself and that will irreversibly change something here. Perhaps, those toys will improve life, make it more affluent, beautiful and convenient. Ultimately, longer. Let’s leave these discourses to advertising. We go there because our feet take us there. So that later on we would tell fairytales, sing heavenly songs and show magic pictures. About the magic country that we fixed up for ourselves. Today, that country behind the waterfall, beyond the heaven’s door, past the gateless gate is created with the help of MacBooks, iPhones, speakers, sensors and other hard- and software. It’s not important what it is made of. What’s important is that people could be allowed in there by pushing a cell phone’s button, connecting to the internet or turning on a projector. Today, this is not a question of whether we should knock on the door or sneak in, whether enter upon permission or break in, whether only good people are allowed in or each and everyone. Perhaps, there is nobody to ask, in fact; perhaps, we are the only ones in there; perhaps, there, behind the door, everything is ours as well. If we build it. CYBERFEST 12 St. Petersburg, Russia www.cylandfest.com

Open City/Otwarte Miasto, 2011, Curated by Monika Szewczyk. Book published on the occasion of the exhibition. Texts by Monika Szewczyk, Marta Ryczkowska, Magdalena Ujma. Artwork by Cezary Bodzianowski, Andrei Dureika, Maurycy Gomulicki, Ada Kaczmarczyk, Katarzyna Kozyra, Jacek Malinowski, Liliana Orbach, Alexandre Perigot, Konrad Smoleński, The Azorro (Super) Group, Izabela Tarasewicz, Mariusz Tarkawian, Alex Villar, Julita Wójcik, Martin Zet. Published by Crossroads, Lublin, Poland, 2011. Printed in offset, hardcover, 130 pgs, color. ISBN: 978-83-93-0048-5-0.

OPEN CITY / OTWARTE MIASTO City of Lublin, Poland Curator: Monika Szewczyk June 22, 2011 ARTISTS Cezary Bodzianowski, Andrei Dureika, Maurycy Gomulicki, Ada Kaczmarczyk, Katarzyna Kozyra, Jacek Malinowski, Liliana Orbach, Alexandre Perigot, Konrad Smoleński, The Azorro (Super) Group, Izabela Tarasewicz, Mariusz Tarkawian, Alex Villar, Julita Wójcik, Martin Zet June in Lublin – the perfect time and place to meet and to open, for the third time now, the city to art; time for artists to open to the city and for our minds to open to their ideas – all this just days ahead of the closing of European Capital of Culture competition. The festival, as defined three years ago by Waldemar Tatarczuk, the author of the Open City project, alludes on the one hand to the military strategy of keeping city gates open, and on the other to Oskar Hansen’s Open Form in architecture. This year’s edition follows these axes. The city is above all the architecture. We seek to foreground it by “constructing” Elvis’s House or The Site; by commenting on Lublin’s existing architecture; by conquering that architecture in a performative gesture. The city is above all the people. We seek to build a meeting space for the people of Lublin by offering them places that will captivate them, liberate them from their daily routines, encourage playful interaction. For it is impossible not to be captivated by the summer in a beautiful city and not to yield to the pleasures of music, of movies screened in courtyards of old tenement houses, of games and slingshot competitions. These two axes sometimes intersect, and then we listen to music in Elvis’s House or make our way through the openings of The Site. We always move in the shared space of art. Crossroads 39 Krakowskie Przedmieście Street 20-076 Lublin Telephone: +48 81 466 59 89 E-mail: [email protected] http://www.opencity.pl/en/

Breaking into Business, 9 min video, silent, color, 2011. Historically, the Open City declaration was used during times of war when a city was about to be captured, announcing that it had abandoned its defensive efforts. It was essentially a preemptive measure to avoid a brutal takeover. The attacking forces were supposed to march in without destroying landmarks or attacking the local citizens. This was done in several cases in the past, notably in Manila in 1942 and Rome in '43. But there is another meaning conveyed by the same expression. Open City is also the name given to an autonomous city-state that gives equal access and status to residents and visitors of all faiths, races, and nationalities. Copenhagen’s Christiania is an example of this definition. While in the first case the one who approaches the gates of the city is clearly an enemy, in the second case, that person is expected to be a friend. But ultimately, as the historical record can tell, one can never be completely sure of what such openness may bring, which accounts for the ambivalence that often surrounds open invitations. In the contemporary city, there are experiences in which the trespassing of a boundary can be similarly ambivalent. Think for example of the practice of urban exploration, in which the practitioner treats the city and its buildings as an Open City of sorts and proceeds to gain access to mostly vacant buildings and abandoned industrial properties, but also to infiltrate or hack inhabited properties. Again, there is a range of meanings at play. And once more a conclusive assessment of the practitioner's intentions cannot be done prior to the actual relations that come to constitute the experience. In some cases these actions are declared criminal and subjected to prosecution while in others they are tolerated as a form of urban tourism. Between the legality or illegality of such trespassing situations, as well as between the benevolent or malicious intent of the characters embodying these actions, there exists a gray area, indeed a zone of indiscernibility, within which a definite characterization of the subject performing the action is suspended, or at least deferred. At this point, distinct things loose their distinctive particularities and what was once impossible may acquire a conceivable potentiality. Shooting Documentation photos by Marcin Moszyński, Lublin, 2011. Including strolls through the city and some of the 'visited' sites: Miejska Biblioteka Publiczna, Prezydent Miasta Lublin, Centrum Szkolen i Innowacji, Centrum Kultury w Lublinie, Wyddzial Politogii, Uniwersitet Marii Curie-Sklodowskiej w Lublinie, Kurier Lubelski, Crossroads Center, Urzad Marszalkowski Wojewodztwa Lubelskiego w Lublinie, Voyevodeship. Video Crew (last image): Marcin Moszyński (photographer), Alex Villar (artist), Agata Kopycka (assistant, translator), Wojciech Wojciechowski (videographer), Anna Łukasik (assistant, producer, translator), Lublin, 2011.