By Marko Stamenkovic
art-e-conomy, Belgrado, Serbia

Carlos Motta (NY)
Mark Brogan (Belgrade/London)
Sylvain Froidevaux (Geneva)
Cicero Egli (Geneva)
Julia Kläring & Nils Olger (Vienna)

+ VIRTUAL WALLPAPERS :: CCC – Critical Curatorial Cybermedia , Geneva

Mark Brogan
1967 born in London, UK lives and works in Belgrade, Serbia

“My project in Belgrade is an answer to the problem of how to set up and coordinate an outsourced call centre in Belgrade and simultaneously develop an art practice within this context. Through the lens of this art practice, the outsource project moves along unconventional and unpredictable paths, which both conform and do not conform to the parent company’s expectations. Using video and audio works from the call centre telephone conversations as a medium, the art project reveals a number of problems: the difficulties faced by Serbian call centre staff in attempting to project a corporate persona; how various psychological modes (flattery, authority, sympathy) may be deployed in trying to convince managers of internationally known firms to reveal relevant information about their company’s operations, despite the fact that these same managers stand to gain nothing by revealing this information to a stranger on the phone. The project provokes a level of discomfort that, when analysed, ultimately revolves around a question of ethics. People located on the lower rungs of social power hierarchies are often forced to make detours around Western ethical systems in order to survive. In a volatile capitalist world characterized by challenges and shifts in the existing world order, the question of ethics in business becomes slippery terrain”.

Carlos Motta
1978, Born in Bogotá, Colombia, lives and works in New York, NY

SEPTEMBER 22, 2005
Originally screened at Human Rights Festival “El Salon de La Justicia,” Bogotá, CO

September 22, 2005, is a video, which takes place in a “street vendor evacuation action” by the Metropolitan Police of Saô Paolo, Brazil on September 22, 2005. Vendors reject the violent treatment incurred by the authorities, this lead them react and resist. In the video, two displaced vendors tell their opinion about this ongoing situation and lament having no rights or possibilities of working legally. They also question the local system’s “lack of democracy” in a country “where one wants to work and one can’t. One wants to be legal and one can’t”.

Sylvain Froidevaux
1960 born in Porrentruy (Switzerland), lives and works in Geneva

“The story of Onesimus in the New Testament give the opportunity to think the reversible sense of useful and useless status of people and workers in the postmodern society. Onesimus, whose name means useful, was by the word of Paul useless as a servant and became useful when his master freed him of slavery. As Onesimus, we all are useful and free as producers and consumers. In the view of the neoliberalism, everybody becomes his own manager, dealing his time, services or competences for money. In the same time, economic freedom of individuals takes them towards a new alienation, which makes them profitable or not profitable according to the market and the benefits of stock exchange. In that way, the Basic Income project could be an alternative to escape merchandization and economic exploitation while work kills globally 5’000 people a day, and while the price we have to pay for the productivity growth is and mass unemployment, psychological diseases, and social exclusion”.

Cicero Egli

1973 born in Zürich, Switzerland, lives and works in Geneva, Switzerland

Cicero Egli, Perspective flexible, 2005, DV, color, sound, 17 min
“Perspective flexible” is based on stories of employees working in different fields. Tendencies towards a new organization of labor, which transforms the conditions of work into conditions of life, are outlined. The camera operates in the field of hospital care, transnational air traffic and of multinational hotel business. Personal stories are joined to emblematic images of work and producing a contrast, which makes emerge the face of the new conditions. The film opens a mental space reflecting the transition to flexibilisation of which personal consequences are more and more perceived in Switzerland.

Julia Kläring & Nils Olger

1978 born in Vienna & 1976 born in Vienna, live and work in Vienna, Austria

Julia Kläring & Nils Olger, [ ], 2004/2005, mini DV. color, sound, 9 min

A day in the office. A movie in the office. Two parentheses. Inside or outside?
The short feature film “[ ]“ shows an office worker at her workplace. Her thoughts are focused on her work and the idea behind it. She walks through the office building, she passes other office workers, her inner monologue is accompanying her. Routine and compulsion. Minimal eruptions, that nevertheless show existing possibilities and a rest of willpower. Questionnaires on post-fordist working conditions handed out to friends and colleagues were used as a model for the off text. A 10 minute feature film with amateur actors, filmed on mini DV between 11/2004 and 01/2005 in Burgenland, Austria.
I did go to work today. I don’t think i will go tomorrow.


Martin Keil , born 1968 & Henrik Mayer, born 1971, live and work in Dresden, Germany

REINIGUNGSGESELLSCHAFT (RG) is a project group founded in 1996 and based in Dresden (Germany). RG is run by Martin Keil and Henrik Mayer, who work at the point of intersection between art, economy, and social reality. They work on themes of importance for society in artistic and curatorial projects and especially elaborated the change of the working world and artists self organisation.

10th – 19th June 2005

The Project of RG proposes a temporary re-naming of the streets in Leipzig/Plagwitz during the festival. In the framework of the activities there are created street signs, which replace the normal signs. The project puts into question the compatibility of democracy and the rules of a free market. Starting point is the dynamic process of a re-orientation, which is taking place at the moment in Leipzig Plagwitz. The quarter is still affected by the history of a ran down industrial era, but offers at the same moment a varity of free space. The omnipresent vacancy and unused urban waste land contrasts to initiatives by inhabitants, a growing art scene, small enterprises and fficial city planning strategies. RG is interested in the role, that plays culture in this new growing system of values. How does it happen, that a district of a town gets the reputation to be “in”. How does it become a staging area for artists and entrepreneural activities? By overlaying the historical street names with actual and trendy concepts, the attentions is drawn to the current developement of this district of the city. The temporary re-naming shall create a sensibility for the synergies and contradictions, that are part of the city developement process


One Response to “art-e-conomy selected”

  1. Will future futurists relay on yesteryear’s futurism, and continue the tradition of techno-fetishism, or will the superfuturists of tomorrowland surpass the superceded futurists of the past with a clean and decisive break from history? If so, what motif will this new superfuturism take on? If our new future will no longer be measured by technological development, what will it be measured by?

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