Exhibition

01 November–28 December 2014

In the Stomach of the Predators

In the Stomach of the Predators, a two-part exhibition by Berlin-based artists, curators, and theorists Alice Creischer and Andreas Siekmann, explores the predatory logic of advanced capitalism. Stemming from their joint research in the last several years concerning the privatization of the commons through the cases of seeds, land rights, and intellectual property, these two distinct bodies of work employ the methods and languages of theatrical and filmic stagings (Creischer) and pictorial tableaux (Siekmann).

The installation of Siekmann takes us to the Norwegian island of Spitsbergen where the Svalbard Global Seed Vault, a project set up to “protect” all existing agricultural kernels in the world from eventual extinction, is based. We learn, however, that the seed bank is financed by the very same corporate lobbies that exercise interests and practices that threaten crop diversity, including, among others, genetic manipulation. These entangled complicities are uncovered through large movable panels with pictograms, reminiscent of the vocabulary developed by science philosopher and political economist Otto Neurath in cooperation with artist Gerd Arntz, who was a part of an anarcho-syndicalist movement in the 1920s in Cologne and Berlin, developing graphic icons specifically for proletarian agitations. The ordered, systematic, and meticulously structured succession of signs, symbols, and their visualized interconnections draw an alarming relational map of the economic and political aspects of biodiversity’s transfer into private hands that so accurately defines our global present.

Creischer’s work contains a cast of a number of whimsical, symbolically charged animal figures—the wolf, the hyena, the bear, and the jackal—each of them representative of a particular form of monopolization of what once was the common good. The animals are sent on a journey from Spitsbergen to Benin and Istanbul, during which they encounter situations that seem absurd and at times outright grotesque. Such surreal scenes are continuously stabilized, however, by an undercurrent of real gravity as the characters delve into the disquieting workings of the neoliberal condition. The creatures are emblematic of, and personify, acquisitive greed paired with injustice and devastation; through them multiple scripts unfold, delivered in a variety of vernaculars, at once resembling the Chaplinian slapstick handlings of despair and the theatrical experimentations of Bertolt Brecht. While addressing the apocalyptic questions of global gene pool heritage, land grabbing, the devastation of natural resources, and the fantastical “science” of financial speculation, art itself—and its possibility to counter systemic violence of such amplitude—is not spared questioning. Though the work tests art’s subversive potential, its complacency in the face of the flows of capital surfaces at least as often as the paradoxical meaning of survival in an era of human-engineered catastrophes.

In the Stomach of the Predators is presented as part of the year-long research into the notion of “survival” within the long-term series Future Vocabularies (2014–2016). The series inquires into the possibility of art to offer a space for developing a variety of itineraries for envisioning another future.

Suggestions from the archive

Exhibitionary

Screening

15 July 2021, 18.30-20.00

Fragments of Repair/Gathering VI: Invisible Bridges

A public program realized in the framework of the multi-part project Fragments of Repair

Taking place on Thursday 15 July 2021, the sixth gathering of Fragments of Repair/Gatherings, consists of a screening of artist Kader Attia’s Reason’s Oxymorons (2015) and a conversation between Kader Attia (Berlin) and Stefania Pandolfo (medical anthropologist, Berkeley, CA).

Screening

24 June 2021, 17.30-20.00

Fragments of Repair/Gathering V: The Object’s Interlacing

A public program realized in the framework of the multi-part project Fragments of Repair

Taking place on Thursday 24 June 2021, the fifth gathering of Fragments of Repair/Gatherings, consists of a screening of artist Kader Attia’s The Object’s Interlacing (2020), followed by a conversation between Souleymane Bachir Diagne (philosopher New York/Dakar) and Wayne Modest (material culture curator and researcher, Amsterdam/Rotterdam).

Education Program

21 June, 19.00–7 July, 21.00 2021

Course: Art as Politics

An Online Extension of BAK Public Studies

A new edition of the online course Art as Politics, taking place on the following dates: 21, 23, 28 and 30 June & 5 and 7 July 2021. The course, taught by BAK’s Maria Hlavajova, brings those involved and/or interested in art, theory, and social action into collective conversation.