Screening

11 June, 18.00–13 June, 18.00 2020

 

48-hour Selma: An online screening of Tony Cokes’s Evil.27: Selma (2011)

Tony Cokes, Evil.27.Selma , Greene Naftali, New York, 2011; courtesy of the artist, Greene Naftali, New York; Hannah Hoffman, Los Angeles en Electronic Arts Intermix, New York; photo: Gustavo Murillo Fernandez-Valdes

For 48 hours, from Thursday 11 June 2020, 18 hrs CET to Saturday 13 June 2020, 18 hrs CET BAK’s online forum, Prospections, presents a screening of Evil.27: Selma (2011), artist Tony Cokes’s audiovisual meditation on protest and imagination against the realm of mass-image circulation and anti-black oppression in the United States. Presented as a part of Prospections’s ongoing focus, Tactical Solidarities, Cokes’s work considers the effect that instant mediation and transmission has on people’s capacities to organize in new and trenchant ways—a perennial question under particular pressure in this critical moment of rage, demonstration, and change.

The work was on view at BAK very briefly earlier this year as part of Tony Cokes: To Live as Equals, an exhibition and public program with and around the work of Tony Cokes. Cut short due to the outbreak of Covid-19, it will reopen at BAK on 16 October 2020, to run through 10 January 2021.

From the exhibition guide of Tony Cokes: To Live as Equals:

Evil.27: Selma (2011 9:00 MIN.)
“The American Civil Rights Movement took hold in a society moving from radio to television,” reads a slide from Evil.27: Selma, borrowing its core text from “Notes from Selma: On Non-Visibility” by the Alabama collective Our Literal Speed. The text is based on emblematic events of the Civil Rights era, such as the marches from Selma to Montgomery, the arrest of Rosa Parks, and the Montgomery bus boycott. Mixing this text with lyrics and soundtracking by singer and songwriter Morrissey, “The more you ignore me, the closer I get,” the work reconsiders the contemporary dominance of the image as evidence and record. By invoking a period of civil mobilization in the United States that came about in a time without mass image circulation, the video examines what is lost when “everything is instantly visible.” In redeploying modes of information dissemination, the work examines the weight of visibility as it is organized in the media to govern what is perceived as reality.

It is worth noting that Cokes’s 2019 work, The Morrissey Problem, indirectly revisits Evil.27: Selma by discussing the singer’s recent devolution into right-wing ideology, retroactively applying a critique and rereading of the lyrics and soundtracks employed in Cokes’s works. The video adapts in full a 2019 essay from The Guardian by journalist Joshua Surtees, in which the author recounts how, as a British-Jamaican longtime fan, he watched with increasing horror the descendent steps of Morrissey’s fall into fascism. Speaking in the form of a break-up letter to the singer, Surtees calls him “the pop version of Nigel Farage—the kind of person your younger self would have despised.” His words ring true to a great many of Morrissey’s disenchanted fans, Cokes among them.

Screening made possible with permission of the artist and Greene Naftali, NYC.

Made possible by

Suggestions from the archive

Education Program

29 June–16 July 2020

Course: Art as Politics [Rerun on Request]

Due to popular demand, BAK Public Studies offers a rerun of the online course Art as Politics, taking place on the following dates: 29 June & 2, 6, 9, 13, and 16 July 2020.
This digital extension of BAK Public Studies, taught by Maria Hlavajova, is prompted by the urgency to continue collective thinking through, learning about, and imagining critical, politically-informed artistic practices that grasp—and intervene into—the present. Please note: this Open Call is now closed and the course is fully booked.

Education Program

8 June, 19.00–25 June, 21.00 2020

Course: Art as Politics [Open Call closed]

An Online Extension of BAK Public Studies

BAK Public Studies offers the new online course Art as Politics. This digital extension of BAK Public Studies is prompted by the urgency to continue collective thinking through, learning about, and imagining critical, politically-informed artistic practices that grasp—and intervene into—the present.

Dates: Mondays and Thursdays on 8, 11, 15, 18, 22, and 25 June 2020, 19–21 hrs CET. [Please note: this Open Call is now closed and the course is fully booked].

13 March, 19.30–14 March, 22.00 2020

European Forum for Advanced Practices (EFAP) at BAK [NOT TAKING PLACE]

Including two public programs with Paul Goodwin, Ima-Abasi Okon, Abbas Zahedi, Jihan El-Tahri, Irit Rogoff, Florian Schneider, and Maria Hlavajova

[WILL NOT TAKE PLACE | Update 12/3: unfortunately these EFAP presentations will not take place.]

Come to BAK on Friday 13 and Saturday 14 March for two public programs as part of the European Forum for Advanced Practices (EFAP), a self-organized, international gathering of practitioners, scholars, and organizers from transdisciplinary realms of art and education. With, on the Friday, a conversation between Paul Goodwin, Ima-Abasi Okon, and Abbas Zahedi; and on the Saturday a screening and a lecture by Jihan El-Tahri. With introductions by Irit Rogoff, Florian Schneider, and Maria Hlavajova.

Gathering

7 March 2020, 20.00-23.00

BAK, basis voor Yallah Sabaya

Special International Women's Day edition

On Saturday 7 March 2020 BAK, basis voor actuele kunst, Utrecht hosts a special International Women’s Day edition of Yallah Sabaya! Yallah Sabaya (“Come ladies! Enjoy yourselves!” in Arabic) is a special evening where dance and music connect women from all over the world. All women, no matter where they are from, are welcome on […]