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Lina Džuverović
Minna Henriksson
Sezgin Boynik
Katarzyna Kosmala
Maria Hlavajova
Rael Artel
Ásmundur Ásmundsson
Yaiza Hernández Velázquez
Blind Spots (Mother Tongue):
Nana Adusei-Poku
Eddie Chambers
Loulou Cherinet
Power Ekroth
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go to CCA >> | Tuesday 18 November 2014
Minna Henriksson & Sezgin Boynik | 18:00 | CCA, Cinema Space
In this double session of the series, artist/curator Minna Henriksson explores the relationship between ideology and the arts in the socio-political conditions of ‘post-bloc’ Europe and its imagined futures, reflecting back on her own projects and curatorial practice with regard to how the treatments of national monuments and heritage effect social narrations of belonging and identity.
And sociologist Sezgin Boynik explores the connection between forms or tones of nationalism and the manifestation of nationalist impulses in contemporary art. How the productive networks of artists, curators, and institutions can form a cultural space where nationalism is manifested in relation to the real, ad hoc, ever changing phenomenon of the nation itself.
| Sezgin Boynik :
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Minna Henriksson :
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Resources :
| Minna Henriksson, home page.
(right) Lenin of Riga, 2013. Image, courtesy of the artist.
The work is result of a brief research into issues surrounding the statue of V.I. Lenin that was located on the Brivibas Bulvaris in the center of Riga from 1950 to 1991. The iconic images of the toppling of the monument on the 25th of August 1991 were spread all around the world as symbolic moment of victory of democracy and freedom. The democracy and freedom that was gained could now perhaps be questioned in the context of the economic crisis, and Latvian participation in NATO and in EU. Less examined is what happened to the notorious symbol itself. My work is a search for the Lenin-statue that many believe has been cut into pieces for bronze-mongers, some others think that it has got lost in the whirl of privatization. | | | | | Contemporary Art and Nationalism: Critical Reader
Edited by Minna Henriksson and Sezgin Boynik, Pristina: Instute of Contemporary Art “EXIT”, Center for Humanistic Studies “Gani Bobi”, 2007.
“One could offer the criticism that trying to connect nationalism with contemporary art is a very elitist, self-referential, hermetic project, and problematic in a number of other ways, in a world where each day nationalism takes more bare, banal, vulgar, and violent forms. Nonetheless, our thesis maintains that because nationalism is a cultural phenomenon, its most processed and intelligent forms are at the same time the most dangerous. So, nationalism of a non-conformist, multicultural, cosmopolitan, progressive, refined, and contemporary white-cube galleries’ kind, is differentiated from the disciplined and populist nationalism only in degrees of sophistication.”
Introduction, Sezgin Boynik and Minna Henriksson
Download: contents and introduction text | | |
