TUR – SYR: 899km – An der Grenze zum Krieg – exhibition & event

 

Since 2011 more than 250,000 Syrians have lost their lives in an armed conflict, which began as another so called “Arab Spring” uprising against an autocratic ruler and then escalated into a brutal proxy war that has drawn regional and world powers.

More than 4.5 million people have fled Syria since the start of the conflict, most of them women and children, that has triggered the world’s largest humanitarian crisis since World War II and unveiled a paradox for the European Union that has spent decades preaching its solidarity with migrants flowing from neighboring countries and its battle to hold human rights that should prevail over any kind of economical interest…

Few years have past since we started to get familiar with people fleeing from Syria and images of drowned bodies at the mediterranean coasts.

But what is behind all these Numbers?

“18591km: 899km / SYR – TUR: An der Grenze zum Krieg (at the border to War)” brings us one step closer to the experiences and stories of those forced to flee, forced to combat, forced to join ISIS in an attempt to survive, forced to become orphans, widows, homeless, hopeless wanders, terror suspects, a thread to EU security & welfare…Furthermore, to the stories of the smugglers who get paid to assist people to seek sanctuary in EU…and to the politicians turn blind eyed…

This journey will be made possible thanks to the images captured by courageous photographers from Syria, Turkey and Germany; live music performed by talented Syrian musicians and their stories.

We invite you to stop being blind because being blind is to stay in your safe-zone and to begin to see is to become vulnerable. Like an earthquake that shakes strongly, arising the truth. Seeing is hard, it hurts. Who dares to face the unknown? Those willing to forge ” the other” and place new ideas in confrontation with the old and breaking the barriers of accepted ways of doing things.

————————

18591km e.V. organizes a photographic event with discussion rounds, live-music and soliparty at Panke Culture e. V.

When:

Saturday, December 3rd 2016

6 pm – 12 pm

Where:

PANKE

Gerichtstraße 23

13347 Berlin, Germany

Facebook:

https://www.facebook.com/events/270352276694932/

 

“CETA, TISA & TTIP … the solution to all problems “

EU Commision says:
About CETA:
“Europe currently faces big challenges, like:
– kick-starting our own economy
– responding to conflicts close to our borders
– adapting to other, emerging economies outside Europe
– maintaining our influence in the wider world.”

About TTIP:
“… benefit people in Europe, the US – and the rest of the world, too.”

Overcoming borders, increasing intellectual und cultural exchange.

Such great thoughts, such great objectives, such great ethics.

But, how could 18591km e.V. stand against these Trade Agreements then?

It is easy to use the words these arguments. They all sound wonderful.

But if you look at the history of trade Agreements, NAFTA or FTAA for
example, it has created great benefits for few, lots of trouble for
many. And … the US – Mexican barrier and Wall where created after the
NAFTA was executed.

And why; if it such a great project so many citizens are against it,
with so many contradicting standards in different countries it has to be
pushed so fast and secretive?

There are many reasons to be against these Trade Agreements or at least
skeptical, just to name a first one, this agreement will not benefit US nor European citizens as it states, but just big Coorporations, as it is an alliance to ease commercialization. And it would enhance exclusion, a wider gap with the countries outside this agreement, as it would make them less market competitive reducing drastically their market share, which reminds to the mechanisms of a monopolized market and would lead into the creation of a new invisible wall between rich and poor countries, between rich and poor societies.

More articles will follow here explaining why we stand against CETA, TISA & TTIP.

dsc_7263

 

18591km

The reduction of the refugee solidarity movement to just another trend

The reduction of the refugee solidarity movement to just another trend

Year 2011, while the effect of the Egyptian arab spring seemed to get rapidly contagious over another Northern African countries, ousting dictatorial regimes after decades of unbroken rule; a resistance movement against El-Assad government rose up in Syria. But in contrast to what happened in some neighbour countries and certainly because of its strategically geographical location, its reserves of crude oil and gas – which makes it the largest reserve in the eastern Mediterranean – and being an alawite regime, changed completely the course of a revolt , that months later turned into a war with too many international players.
As a result of the conflict hundred of thousands of Syrians got displaced, left their country and took direction to Europe. Just at the beginning of the spring of 2015, the alarming number of lifes killed during the flee started to get presence at the media. No special emergency rescue programm was approved, neither discussed at the European Parlament to be carried out by Frontex (European Border and Coast Guard). Images of drowned bodies at the Mediterranean coasts became something routinary. Italy and Greece were the preferred arrival countries, but not final destinations due to the poor economic conditions. Germany became then the main receptor of Syrian refugees, playing its role as moral leader during the crisis.

 

But how much morality has been in the end?

 

The migration flow happened to turn into the so known ”refugee crisis“. Needless to say that it was not the first time for Germany in its recent History; in the 80s during the Lebanon-Israeli war, and in the 90s during the war in Yugoslavia. The discussions at the European Parlament got replicated at social media platforms, starting a debate and dividing society in detractors and supporters.

The detractors, transforming the issue into a nationalistic discourse, turning the victims into criminals, who represent a thread to our culture and living standards, resulting in a more fragmented Europe.

The supporters, speaking out for the rights of the refugees, organising demonstrations and colourful events covered by the press. At the time everyone seemed to want to get involved in initiatives for refugees, the issue just become a social media trending topic. There must be the ones who believe that there is a correlative connection between human kindness and the quantity of likes and posts including the hashtag #refugee welcome or #solidarity with refugees.
Merkel’s Government faced a vast opposition at the European Parlament because of the handling of the refugee crisis while her popularity and the share on vote intention for the next election drastically sank. Alarming measurements came in force therefore. The closure of the balkan route and an European- Turkish agreement that costs Europe $ 6,7 Billion and political concessions to Recep Tayyip Erdogan.
Sure, the deal has begun to produce results, observing a sharp reduction of the migration flows .
But at which cost?
The deal unveiled a paradox for the European Union that has spent decades preaching its solidarity with migrants flowing from neighbouring countries and its battle to hold human rights that should prevail over any kind of economical interest…But confining Syrians in refugee camps in Turkey not allowing them to continue their route to Europe does not seem to have anything to do with Freedom and therefore no with Human Rights.
One year is gone since we started to get familiar with people fleeing from Syria.

 

One year documented, traced and registered in social media. If we would consider just the parameters used by social media managers to evaluate social behaviour and its response to the refugee emergency since last year, we could conclude that it just became another trending topic, and as such, it got inspired, discovered, mainstreamed and unfortunately it faded away at the end…
The Syrian war and related refugee crisis topics were the third most discussed topic on Facebook at the end of 2015. In September 2016, Pokemon Go, I Phone 7 and 9/11 conspiracy theories are leading social media…no place for Solidarity with refugees…no discussion any longer at the European Parlament…no dramatic images of refugees locked behind the European fences…no presence at the news…no relevant for social media platforms…Thousand of mouths have been silenced…a new wall has been erected… and the HELP is still needed…But refugees are not longer trending topic…however SOLIDARITY does not know anything about trends.

 

 

By Smriti

 

 

 

 

3. September –

Morgen ist es soweit, das „Schön, dass ihr da seid – Willkommensfest 2016“ findet wieder auf dem Tempelhoferfeld statt. Ihr seid alle herzlich eingeladen. Von 12 – 20 Uhr.

18591km e.V. veranstaltet eine Reihe von Workshops: Yoga, Spiele, Teather/Storytelling von 12-17 Uhr in der ‘Zusammenkunft-Ecke’.

Eingang über : Herrfurthstrasse / Oderstrasse – Ubahnhof Boddinstrasse

Maps: https://goo.gl/maps/fXofaDyVWt42

Für mehr infos einfach eine email an 18591km@gmx.de oder unter Tel.: 01772706518

Wir freuen uns auf Euch.

Tempelhoferfeld

An Insight into the Artists featuring at 18591km Art Exhibition

 

Does a wall always have to be physical? or are they actually just the materialization of ideas of any kind of nature: political, economic, cultural, moral…giving shape to our lives and our relations, creating prejudices and fears, molding our opinion as a result of a single sided reporting?
These questions have driven 18591km to come together with a group of artists with different backgrounds, who in many multiple ways, based on their own experience, have thought through these realities and created their artworks, which will be featured at the 18591km Art Exhibition.

But who are the faces behind? and what motivated them to take an active part in this project?
With: Nicolas Baernreuther & Arystan Petzold, Nathalie mpJohann, Vicente Expósito, Ece Gauer, Salym Fayad, Mahdieh Shadmehr, Ira Mowen, Roland-Tim Heinbrok, Catherine Duquette, Javier Blanco, Anders Bigum, Carolina Cristòfol, Rafael Gil, Koray Arman & Cem Dildar, Maria Nitulescu, Lapo Simeoni, Nuno Marcelino, Tarik Mesli, Guillaume Tissier, D.S. León, Bin-Han To, AWK
With the collaboration of: Gemma Parellada, Pablo Guerrero Alberola, Safy „Sniper“, Elisa Martell and Pablo Woizinski.

 

„The Walls in our mind“ – Installation
tumblr_nyksj6SqZ71rpief9o2_1280Nicolas Bärnreuther  & Arystan Petzold

“The appearance of things depends on the crystal we observe them through.The true nature of things can only be (partly) grasped through observation plus experience”

“feelings are just the human part, which also makes it accessible, and can be not only a physical baying of vibrations”

 

 

„Le Mur“ – Video installation

IMG_0748

Nathalie mpJohann

“How the energy move and transform and how through an emotional and physical feeling, perception of space /time can change the consciousness”.

“I loved that concept because there was no frame , no walls , no territory just the pure catharsis of energy”.

 

 

„Eraseentuser“

eraseentuser

Vicente Expósito

“Making History repeated itself and allowing self-isolation is not a good way to solve the problems and differences. “

 

 

 

„Woman in red & Walls of censor“

 

1916881_10156373798225296_5225678656590783162_n

Ece Gauer

 

“Walls has been voice of being against authoritarianism of the government, violation of democratic rights, media censorship and disinformation, government’s involvement in the Syrian Civil War, use of excessive force by police…In my work, I’ll try to make a point about the censorship on the mural art and graffities”.

 

 

 

 

„Metropolitan Nomads: A Journey through Joburg´s Little Mogadishu“

 

gIqqW5IX1nPkIcAkM-6IpZ7D8Xr_Vd7GpuL-Oci7LOc

Salym Fayad

“The lives of hundreds of Somalis intersect in the Johannesburg suburb of Mayfair. Mayfair presents itself as a space where collective stories of migration and survival interweave with individual desires and hopes of seeking a better life outside a country shattered by decades of internal conflict”.

 

 

„The Wall of Iran“

 

Mahdieh Shadmehrthe wall of iran

 

“In Iran when you stand on the top of the colourless and dusty wall of sanction you will see small people who are passing the wall, jumping from it or become dry and colourless under the wall’s shadow. Just like a rock they have recorded a part of life’s perspective and geographic position, while this wall is just made of dust with pure fanaticism. A material that no one has the courage to break through”.

 

 

„One cigarette“

 

Wall Project Ira Mowen 1 ira mowen

Ira Mowen

The first is a video Mowen made in September 2007 featuring a bird’s eye view of the Berlin Wall shot entirely by a camera suspended from helium balloons, only directed by wind. The second is an impromptu audio recording Mowen did, with vocal artist Joe Wiesenburger, about his life growing up along the wall in West Berlin.

“The goal was to compliment the free spirited nature of the uncontrolled aerial footage with an equally spontaneous narrative describing one perspective of life behind the wall. Both recordings were done in one take and were unscripted”.

 

 

„The Media Wall“

 

12341321_10153724492554659_7059014607906471631_n

Roland-Tim Heienbrok

“The walls are not really the problem, but rather the physical manifestation of something that started much earlier and less visible. It all start in the head.

 The opinion and judgement people have about other countries, societies, social classes and so forth are in most cases not created through personal experiences but just a result of poor and misleading information created through media”.

 

„The Climb“

 

11988767_10154428884769386_7026406643749981335_n

Catherine Duquette

“The Climb investigates the notion of “climbing to the top” and what we’re willing to do to get there. The top is different for everyone – political, economic, ideological, emotional, social, or cultural. But the struggle is just the same – full of fear, frustration, anxiety and no longer knowing how to place oneself in space. We create both imaginary and real walls to organize this chaos – to define space and shape identity”.

 

„Je m´appelle Abou“

 

12311235_926859667400875_2693077246057028765_nJavier Blanco

“Metaphor Suitcase: Tourism or Migration. This story reflects the difference between these realities confronted, 1st and 3rd world, rich and poor, tourism and migration. Consumption and life experience. It is significant that the suitcase that serves the tourist to consume travelling, can´t be used here for an experience that might change the life of someone forced to depart, without any hope to return, to embrace an uncertain future, wishing to be different, a better path”.

 

„Versus“

Anders Bigum

“The inability to understand the positive impact of the differences; that contrast creates the whole. Without blacks and whites the picture will fade into a dull meaningless blur”.

VersusStill

 

 

„in-Being-awake”

Carolina Cristòfol
carolina.jpg

 

“Dreams: an invitation to go through the fog of noise into clarity, seeing and revealing”.

 

 

 

 

 

 

 

„Topographies of Wall & Suite Berlinesa“

Rafael GilRafael_Gil_Lithography.jpg

 

“My work also represents a desire to show that even today, across our planet, walls are being constructed as barriers. They are a rejection of what we should expect in the new century: coexistence and understanding between men.”.

 

 

 

 

 

„Trees are stronger than walls“

Koray Arman & Cem Dildar

“Our aim is just to show that the nature is a common value of all human-beings and the existence of the trees together with our love to the nature can stop overbuilding of the cities, stop the isolation of the different cultures, racism, fascism, violent capitalism and even the wars.

cem

 

„Reflective Memory – Cultural Reflective Distance“

Maria Nitulescu
12278980_10208428803425997_723249919203443310_n

 

“I construct my memories with my present. I am lost, abandoned in the present. I try in vain to rejoin the past: I cannot escape. Jean-Paul Sartre”.

 

 

 

„Tepee“

Lapo Simeoni
LAPO

“The precariousness caused by European capitalism, which renders places of peace and hospitality to only be shared for economic benefits. I therefore created a symbol that also serves as a temporary remedy for this unstable time.

 

 

 

„175Km: Where EU geographically begins but morally ends“

Nuno Marcelino

nuno

 

“175km is a photo reportage of 2 days along the Hungarian border with Serbia, showing the daily life of the surroundings of the new wall and the portrait of the refugees who needed to cross the wall created to block them.

 

 

 

„PIECE Nº 42: We are not birds““

Tarik Mesli

“My work aims to be a visual search of a new relationship to the other in a world where one is locked, and locks oneself, into a system that pits the included against the excluded, north against south, the one who speaks against the one who can’t”

18591kmART_EXHIBITION_Tarik_Mesli2

 

“Mass Media“

Guillaume Tissier

IMG_0655.JPG

 

“Mass media form mass opinions, which can be manipulated for political or economic reasons, and therefore help building walls between categories of people, religions, countries, etc”

 

 

 

“Labyrinth (Lost in Time)“

D.S.León

“I strive to provoke the audience  by creating relationships with their inner feelings and boundaries, that make us feeling lost. This labyrinth represents our invisible walls, the challenge of daring us to tear them down”.

D.S_Leon1

 

“Wall“

AWKIMG_0599.JPG

“The art work for the exhibition simply titled “wall” is approach to walls from purely structural, aesthetical, simplified way. The installation is meant to invoke feelings and considerations of the actual building of the wall, the experience of the tangible aspects of this political and societal construct”

 

 

…and so it was…

 

 

Walls, Fears and Limits by Pablo Guerrero Alberola

18591 km is an arbitrary number. Even if we are able to relate this cypher with the length of the physical walls around the world, 18591 km would still reflect the arbitrariness of the metric system. What transcends this cypher is not the thousands of fences, walls, mines, barbed wire and watchtowers that surround us, but its darker purpose, to build 18591 km of fear.

Nothing is completely new in human History; fear was often used throughout history to appeal our desire for security. Nothing broadcasts more of a sense of protection than to build a wall, to set a limit. If anything characterizes walls, it is thus their capacity to define. Separating one from the other, the known and the unknown, walls link us and, at the same time, they pull us apart. But above all walls are physical representations of our fear of the unknown.

In the kingdoms of the Iberian Peninsula during the fourteenth century the concept or term “city” was a confusing word. The cities were neither characterized by their population, nor their economic power; nor could they be defined as urban centers. What gave them their status as cities was their walls. The walls defined and dignified the city, separating their inhabitants from the outside world, and the wild hostilities. At that time there were still imaginary borders, everything outside the human being had a mystical or magical character; dragons, ogres and witches. The walls not only protected the city from invasions, they separated the civilized from the beasts, monsters, and ultimately, the unknown.

Battlements and towers not only had a defensive character, they also bestowed status on those whom were protected by their blocks; they separated the nobility against the peasants.

In the kingdom of Castile, the book of “Fuero de las Leyes”, known since the fourteenth century as the Code of the “Siete Partidas” sanctified the walls, raising them to the status of the sacred and establishing the king with the responsibility to preserve them and all their inhabitants. We can say that the medieval walls were delimiting a legal space and also a natural area, but ultimately the walls established limits but not borders.

It’s necessary to take a moment and think about these two terms. The word for “border” in Spanish is frontera and comes from the Latin words frons or frontis, which means the front of something. It is a very concrete concept that is used to refer to an area or region that is characterized by common features. But it is different from the concept of “limit,” which comes from the Latin word limes, which initially served as the name for the road around the perimeter of to a property, that later became known as fortified road.

Borders mark off the end of a territory; they represent the line that is oriented towards the outside of something, The “limit” plays a strategic role in defending the citizens and maintaining the resources of a region. In this regard, “border” has a conciliatory meaning because it marks an area of transition between countries, while the “limit” represents unique spaces where relationships cannot be develop freely. For Ancient Greeks, the Mediterranean Sea was a border that helped to establish their traditions. The great cultural exchange that happened along the Mediterranean Sea facilitated the Greeks’ worship of foreign gods. The social, economic and cultural relationships at the Mediterranean Sea understood as a border, didn´t know limits.

Over time the concept of border has gained more of a political meaning, making it more similar to the concept of limit.

History demonstrates that borders were initially established by natural boundaries: the borders were set up without human intervention. Nowadays borders have evolved into social spaces, which are created and modified by humans for their own interests. After the Thirty Years’ War and the subsequent Treaty of Westphalia, signed in 1648, the geographical borders of the current European states were largely established. This treaty brought about one of the first political spaces that merged the formerly separate meanings of border and limit. By the nineteenth century, borders were no longer determined by geographical features, the Roman Empire universality , the system of feudal vassalage, or legal allegiances to a king. Rather, borders were determined based on the idea of the nation-state and the concept of territorial sovereignty.

To create a nation-state it’s necessary to have national sovereignty, that is, the nation must have inviolable and impenetrable borders that are recognized internationally.

Thus territorial sovereignty means that a nation controls a geographic space, limiting the relationships established in it. The territorial delimitation is in any case initiated arbitrarily; rather, it is marked by a clear intention, it is a example of a modification of geographic space and politico-social space produced by humans according to their needs and interests.

The concept of territoriality arises exerting the power, control or the sovereignty over a territory . Then it is necessary to establish precise limits to establish beyond doubt what land rightfully belongs to the State-Nation. In that way the borders, which represent places of interrelationship between different countries, cultures or societies turn into limits, and become uninhabited lines that have to be controlled and protected. That is how the term border, which at one time referred to zones of contact oriented to the outside have come to have the connotation of limit, which forces us to look to the interior, tying citizens to the concept of territory.

Nowadays we find an antithesis between these two concepts: border and limit. Natural space has been almost exterminated, with the imposition of an absolute social space. The technical barriers that once limited the movement of people and the communication between them have been largely surpassed. Although globalization is growing, nationalisms, regionalisms and localisms still existing. In this way, the concepts of borders and limits have been dissociated again. In our world the borders have been swept away by the mass media, the globalized economy and the free market, but the movement of the peoples is more limited than ever. The system keeps creating new barriers, border controls, and bureaucracy, appealing to the order. Seeking to ensure its own survival, the system has reused an ancient border, that of fear.

This time the fear of the unknown doesn’t manifest in the form of dragons or witches, it instead takes the form of radicalisms and religions, work stations and health expenditure, of foreign languages and different faces.

The fear strengthens the “we” and it differentiates us from the “barbarians” and “the savages” that live beyond our walls, constantly threaten our lifestyle.

When I imagine 18591 kilometres of barriers, I´m also visualising the tons of wire that help to feed the uncertainty, unvoice the questions and ensure the future imposing limits, to the History, the blood, the tradition and the culture. To fantasize the recovery of a stray purity that never existed is merely a pretext to build more limits, more walls.

The borders and limits, as we can see through history, have changed and will continue doing it. They have been built and demolished by the people. They have been modified by wars, the economy, culture, language, religion or ideology.

Hate is to blame for the barriers of this world — it feeds the xenophobia, the racism, and the exclusive use of languages. In the end the only thing that is limiting ourselves is our sociability.

We have to actively decide with whom and how we want to relate — deciding as individuals and a society, revealing ourselves through an act of determination to defend real social ties and remember that borders are not always meant to limit.

 

by Pablo Guerrero Alberola

A guide to the 18591km Art Exhibition

photo

18591km Art Exhibition Guide

25 – 28 November 2015

Silent Green Kulturquartier

Sin título

 

 

 

 

 

 

ARTISTS

01-Koray Arman & Cem Dildar, Video

02-AWK, Graffiti

03-Nicolas Barnräuther & Arystan Petzold, Installation & Music

04-Anders Bigum, Video

05-Bin-Han To, Video

06-Javier Blanco, Sculpture

07-Carolina Cristòfol, Painting

08-Catherine Duquette, Performance

09-Vicente Expósito, Video

10-Salym Fayad, Photography Reportage

11-Ece Gauer, Painting

12-Rafael Gil, Painting & Lithography

13-Roland-Tim Heienbrok, Photography

14-Nathalie mp Johann, Video- Installation

15-D.S. León, Installation

16-Nuno Marcelino, Photo Reportage

17-Tarik Mesli, Installation

18-Ira Mowen, Video

19-Maria Nitulescu, Photography

20-Mahdieh Shadmehr, Painting

21-Lapo Simeoni, Installation

22-Guillaume Tissier, Painting

 

……………………………………………………..

 

01) Koray Arman & Cem Dildar

Trees are stronger than walls”

This is a story about this is a story of a park…in the center of a mega city…which has been the capital of 3 big empires and carries the history of 8000 years… hometown of tens of nations, hundreds of ethnic groups and cultures, and a holy place for 3 big religions. It is about how people with different ethnicity, cultures and religions came together and have been one voice in order to protect a park against the government. It was the basic love of any human-being to protect the mother-nature, so the differences within the society didn’t matter on those days.

They were reporting from the beginning of demonstrations. Their work is a short movie with a duration of max 5-10 minutes. The Park’s name is Gezi Park. But we will try to not mention any name of any person, any place, any nation or any politician. Our aim is just to show that the nature is a common value of all human-beings and the existence of the trees together with our love to the nature can stop overbuilding of the cities, stop the isolation of the different cultures, racism, fascism, violent capitalism and even the wars.

 

02) AWK

Wall“

The art work for the exhibition simply titled “wall” is approach to walls from purely structural, aesthetical, simplified way. The installation is meant to invoke feelings and considerations of the actual building of the wall, the experience of the tangible aspects of this political and societal construct. To explore what and how do people perceive when thinking about such constructs as “tearing walls down” and “putting walls between”.

 

03) Nicolas Bärnreuther & Arystan Petzold

The Walls in our mind

We live in an open society, where mindsets of all kinds and colors are offered on the idea market with the promise of assisting the individual in finding an identity. This is, a role to define his own position from witch he might interact with his context.

Mindsets are helpful for organizing and simplifying the massive amounts of information we are exposed to as individuals. They function as a filter in our mind or if you want as the pentaprism in a camera, reflecting the stimulus in our brain while translating it through its set rules or form. Mindsets also have a natural tendency to rigidity, (as if made of crystal like the pentaprism).

The less critical reflexion the individual applies to his own experience, the more the  indset takes control over his judgement.

This is soothing for the distressed mind but at the same time accentuates the rigidity of these mind structures, disabling the necessary flexibility needed to solve certain problem situations.

Even more when these situation are of confrontation against different mindsets.

Physical walls (as in segregational walls) exist as a byproduct of failing to overcome conceptual walls. (As in an argument where none of the sides is capable of or willing to empathize and so move towards a solution).

This particular situation I believe is universally shared, and applies to general and  particular areas with the result of spliting society in different sections and sometimes confronted sides(from different cultural backgrounds or different political points of view to different neighbourhood or different urban tribe).

Our task as artists is to bring movement/dinamism into the discussion to break or at least prepare the ground for those who will break down those conceptual walls. Exploring the borders of interaction of different mindsets, acting as possible translators from one mindset to the other, simplifying possible consensus.

Through this work it is the viewer who exploring the space around him through both sight and translation through space, will physically experience the difference between observing  reality from a fixed point of view and truly experiencing threedimensional reality.

The appearance of things depends on the crystal we observe them through.The true nature of things can only be (partly) grasped through observation plus experience.

This idea should ideally impregnate the viewer in the deep and profound way that can only be achieved through experiencing art.

 

Arystan Petzold

Arystan Petzold is a German composer and trumpeter based in Italy at the quite location of Orvieto, in the region of Umbria.

His music has developed in the last years while living in Italy surrounded by Nature. That lead him to get focused in getting an harmonic direction of “Musikphilosophie”, based on the laws of nature and the natural harmonic series, in a search towards the origins of sound – “feelings are just the human part, which also makes it accessible, and can be not only a physical baying of vibrations”

 

04) Anders Bigum

Versus“

Versus is a cinematic interpretation of the invisible boundaries within our society. Segregation build up and past on throughout generations, decades and millenniums. Walls of the mind that makes it nearly impossible to see the similarities and embrace the differences.

The inability to understand the positive impact of the differences; that contrast creates the whole. Without blacks and whites the picture will fade into a dull meaningless blur.

 

05) Bin-Han To

Ophelia: Love & Privacy_Settings“

Binimans’short takes the serious and complicated topic of privacy in the digital age, mixes it with slapstick cartoon sensibilities and turns it into an animated romantic comedy (with slight dare we slight, say, erotic touches…).

What if everybody could read your thoughts, and know all your most inner wishes and desires? And what if, at the same time, you were just a regular guy trying to find a woman? That’s the problem of Hubert. Anyone can clearly read his thoughts in a speech balloon floating above his head. But how will the girls react?

A comedy about „The End of Privacy“.

 

06) Javier Blanco

Je m´appelle Abou“

This work is based on an incident happenend on May 7, 2015 at the border of Tarajal Ceuta (Spain) which separates Africa from Europe one Tarajal, Spain), Europe, of the highest “walls” that are currently in the world. Customs control, passing through the x-ray was discovered a child trying to illegally cross the border in a suitcase. When opened, this child, eight years old said: “Je m’appelle Abou” My name is Abou.

Metaphor Suitcase: Tourism or Migration. This story reflects the difference between these realities confronted, 1st and 3rd world, rich and poor, tourism and migration. Consumption and life experience. It is significant that the suitcase that serves the tourist to consume travelling, can´t be used here for an experience that might change the life of someone forced to depart, different, a better path.

 

07) Carolina Cristòfol

in-Being-awake“

Already as a child, I wanted to look over the oder side of reality. Of this reality that builds walls physical walls, and psychological.

Wenn you feel a tension between what “happens” and what you absorb, you feel the need to break that Weltbild. Art has always been my way of learning how to do it.

Dreams: an invitation to go through the fog of noise into clarity, seeing and revealing.

 

08) Catherine Duquette

The Cllimb“

From a wall of bodies to a body of walls. // Someone is always above; someone is always below; and they all need each other to sustain the wall. But what happens if one chooses not to climb? What happens if one pauses in the pursuit?

 The Climb investigates the notion of “climbing to the top” and what we’re willing to do to get there. The top is different for everyone – political, economic, ideological, emotional, social, or cultural. But the struggle is just the same – full of fear, frustration, anxiety and no longer knowing how to place oneself in space. We create both imaginary and real walls to organize this chaos – to define space and shape identity. But how does this affect those around us? How do we perceive and (dis)connect with those climbing alongside us? The builders of walls are the selfsame people climbing them. And the original organizers of chaos become its quintessential embodiment.

 

09) Vicente Expósito

Eraseentuser

“Eraseentuser“ got inspired through a video by the artist Bill Viola, which approaches the topic of monotony. As an invisible wall that put limitations to our personal growth and expansion, when just small changes are strong enough to generate an inertia breaking those walls.

“Making History repeated itself and allowing self-isolation is not a good way to solve the problems and differences. ”

 

10) Salym Fayad

„Metropolitan Nomads: A Journey through Joburg´s Little Mogadishu“

The lives of hundreds of Somalis intersect in the Johannesburg suburb of Mayfair: a place of opportunity, a refuge, a home for the Somali diaspora in one of Africa’s largest  metropolises. A multi-layered site where Somali migrants, as urban refugees, renegotiate their cultural practices in a foreign and sometimes hostile metropolitan context, where spaces and customs that were left behind are recreated in the daily life of the neighbourhood.

Mayfair presents itself as a space where collective stories of migration and survival interweave with individual desires and hopes of seeking a better life outside a country shattered by decades of internal conflict.

 

11) Ece Gauer

Woman in red“

Walls has been voice of being against authoritarianism of the government, violation of democratic rights, media censorship and disinformation, government’s involvement in the Syrian Civil War, use of excessive force by police…

Graffities and mural paintings are seen by many authorities as vandalism and that is why they are covered or removed by the authorities.

Recently a big mural painting of a famous artist JR has been covered by the police in Istanbul. In my work, I’ll try to make a point about the censorship on the mural art and graffities.

 

12) Rafael Gil

Topographies of Wall & Suite Berlinesa“

To look upon, to contemplate, to read, to study, to decipher, to cover, to enjoy. That is the aim of “Topography of walls”. I want to analyse and describe the role of walls, both historically and in the present day.

Walls have been present since prehistory; as a medium for man’s ideas and concepts. Walls take many forms. In the modern age, the artistic role of the wall has been revived through street art and graffiti. Street art is a special thing. It’s very rare that man has expressed himself with so much freedom and with so few worries about whether his creation is technically well executed. The important thing for a graffiti artist is to convey a message. The spectator must instantly understand what is being communicated without any room for misunderstanding.

“Topography of walls” is a new series of works in which I allowed my imagination free rein, without demands or constrictions placed upon it. My work also represents a desire to show that even today, across our planet, walls are being constructed as barriers. They are a rejection of what we should expect in the new century: coexistence and understanding between men.

 

 13) Roland Tim Heienbrok

The Media Wall“

The knowledge about other cultures, countries, social classes religion and ethnic groups is usually obtained through the information people receive through the media. Despite of the fact that this information in most cases is simply poor and/or single‐sided. Sometimes it can be even misleading and wrong.

That creates insecurity, prejudices and fear. A mechanism that can be observed when looking back at the Third Reich or even the Cold War. Or in the present looking at conflicts in South America or the Refugee Debate.

That makes it easy to overlook that this media wall is no simple answer and offers no solution but on the other side are just people like you and I, with their own history, fear and happiness. Inspired through my work with

refugees in Berlin and Brandenburg I have started to collect sentences I encountered. And put them in context with portrait‐photography of people I met.

Trying not to see my own opinion but simply the person in front of me.

 

 14) Nathalie Johann

Le Mur (The Wall)

I created a silent installation with sculpture and an animation “Le Mur”.

This was the beginning of my passion for architecture, and of the understanding of the ambiguous concept of wall.

The beauty and generosity of the “18591km” project immediately touched me: awareness awakening, humanitarian, linked to the whole world.

The creators of the project are the living image of their open activism: a daily act of sharing, openness, making links between different culture, people, art.

And the more I work on it, more ideas and projects in my mind.

 

15) D.S.León

Labyrinth (Lost in Time)“

Freedom as a leitmotif of the exhibition, is the main reason why I decide present my project, Labyrinth (Lost in Time).

In Berlin time passes quickly, Berliners continue to coexist with the memories and remains of what once was separating his city. Many of all those families did not forget what happened, but in contrast many other have forgotten. The black wall of lies and fear is still in the minds of many people and global leaders, so consequently, even nowadays, new large walls made of concrete and steel are still erected in different parts of the planet.

I strive to encounter the audience, by interacting with the installation, provoking relationships with their inner feelings and boundaries, that make us feeling lost. This labyrinth represents our invisible walls, the challenge of daring us to tear them down.

 

16) Nuno Marcelino

175Km: Where EU geographically begins but morally ends “

Not even the soldiers believe it could stop someone. Head bowed, sweating, they walk reluctantly along the imaginary line on which they were ordered to hoist a palisade. A tall, white caterpillar tread follows them through fields of sunflowers and corn, stabbing the ground with regularity every four metres down and planting a steel pole of the same height. A dull thud, followed by a puff of dust in the summer heat. The galvanised mesh must then be unrolled; the wire is already curled, like cotton candy, in a soft, pointed cloud. It is laid down on the ground, in the middle of nowhere.

This is Kübekháza, the Hungarian town which borders with Serbia and Romania, and hosts nothing less than the end point of the “wall of Orbán”. The last pillar of the 175-kilometres barrier has already been planted, and it just takes a look at to sense the absurdity of all those hours of work.

Behind it, the Pannonian plain opens up in its blatant indifference. The wall ends in a meadow.

A few metres away, the monument celebrating the meeting point of the three countries stands beyond the railing, on the other side of the wall. Geographically the EU starts here But morally it Geographically, here. morally, seems to end.

175km is a photo reportage of 2 days along the Hungarian border with Serbia, showing the daily life of the surroundings of the new wall and the portrait of the refugees who needed to cross the wall created to block them.

 

17) Tarik Mesli

PIECES Nº 42: We are not birds“

The phrase “WE ARE NOT BIRDS” is part of a universal truth, a blend of drama, truth and poetry. Man flies as he falls. Exhibit 42 presents a decontextualized image without place marker or time, and devoid of color.

This work is between silence and scream, between body and frame, it introduces the ideas of movement, of the displacement of limits.

My work aims to be a visual search of a new relationship to the other in a world where one is locked, and locks oneself, into a system that pits the included against the excluded, north against south, the one who speaks against the one who can’t.

 

18) Ira Mowen

One cigarette“

Ira Mowen’s video for the 18591km exhibition superimposes two 10 minute long works of art spanning over many years. The first is a video Mowen made in September 2007 featuring a bird’s eye view of the Berlin Wall shot entirely by a camera suspended from helium balloons, only directed by wind. The second is an impromptu audio recording Mowen did, with vocal artist Joe Wiesenburger, about his life growing up along the wall in West Berlin. The goal was to compliment the free spirited nature of the uncontrolled aerial footage with an equally spontaneous narrative describing one perspective of life behind the wall. Both recordings were done in one take and were unscripted.

 

19) Maria Nitulescu

Reflective Memory – Cultural Reflective Distance“

Focusing on the relationship between selfhood, memory and reflective distance I argue that Sartre offers useful resources for thinking about distance, the self in terms of narratives. To achieve reflective distance, you should be capable of disengagement from cultural norms and givens. A reflective return to the cultural origins that you can no longer inhabit in any unthinking manner.

Reflection and memory weave past, present and future into a consistent and meaningful life story. This story is about the self. I propose to understand the self as a fictional or imaginary entity.

Sartre attributes the emergence of selfhood to memory and reflection.

Memory, acting in an imaginative and creative manner, brings the self into fruition and thus creates experience and endows it with meaning.

In this case a photograph should not be considered a ‘mirror of the real’ but ‘material‘ for interpretation: to be solved; read and decoded, like a riddle, like clues left behind at the scene of a crime.

 

20) Mahdieh Shadmehr

The Wall of Iran“

Just like in all the other countries around the world the first boundaries in Iran where made from walls. With the boundaries growing small and large the minds got expanded and contracted as well.

People’s mind made the bricks and the bricks surrounded their minds. Our Iran grew about half the size of Asia and got miniaturized to the size of a cat! These lines in the map, which show my country, look like a cat, are completely subjective.

My country built a new wall on its kitten shaped boundaries and other countries helped by completing this brick wall with TahriM (which means “sanction”), the word which in Arabic comes from Harim, means “privacy”.

A new boundary, a new line and a new wall. The bricks were thick enough to affect the communication between people, and it was called Filtering… It was like a real pernicious brain stroke which paralyzed a giant part of people’s mind.

The discussion about government should just be in a Parenthesis or Feuilleton. Talking about the government is nothing but a vainly try, just like Sanction… its distance and septum made the society cluttered like an earthquake, and made the people more versatile. shouting a soccer player while watching a match on TV.

The last words…

Here in Iran, between all these groups and thoughts, when you stand on the top of the colourless and dusty wall of sanction you will see small people who are passing the wall, jumping from it or become dry and colourless under the wall’s shadow. Just like a rock they have recorded a part of life’s perspective and geographic position, while this wall is just made of dust with pure fanaticism. A material that no one has the courage to break through.

 

21) Lapo Simeoni

Tepee“

A tepee is a conical tent, traditionally made of animal skins upon wooden poles. It is distinguished from other conical tents by the smoke flaps at the top of the structure. Historically, the teepee was designed and largely used by Indigenous people of the Plains in the Great Plains and Canadian Prairies of what is now North America.

The teepee is durable, provides warmth and comfort in winter, is cool in the heat of summer, and is dry during heavy rains. Teepees can be disassembled and packed away quickly when people need to relocate and can be reconstructed quickly upon settling in a new area. Historically, this portability was important for the Plains Indians with their at times nomadic lifestyle.

This tepee, which was made with a first aid emergency blanket, is a symbol of the precarious living situation at present for nomadic refugees, especially those who are escaping from conflict zones. community and for the refugees who are exhausted by these dramas.

Historically, it was the same European (and other) states that exploited with dictatorial regimes the exhausted populations of South Africa or the Middle East, forcing them to collapse cyclically. I made a contemporary Tepee thinking about its possible use for migrants who are shifting from conflict areas to Europe, often being forced to wait behind new walls that are created to stop these exhausted people.

The idea of creating a Contemporary Teepee was inspired by a book written by my Father Angelo Quattrocchi in 1973.

Angelo Quattrocchi had lived in America at the Indian Reserve WOUNDED KNEE, which was ordered to be expropriated by the American forces. The Indians on the reserve had been forced to barricade themselves on their own land, WOUNDED KNEE for two months, bringing national “media” attention to the cause and eventually winning the battle of resistance. My father wrote daily from inside the reserve as the Indians were struggling to survive during the invasion (WOUNDED KNEE Indiani Alla Riscossa).

This book is part of my life and gave me the idea for how to confront the precariousness caused by European capitalism, which renders places of peace and hospitality to only be shared for economic benefits. I therefore created a symbol that also serves as a temporary remedy for this unstable time.

 

22) Guillaume Tissier

Mass Media“

Consumption society, in general, and mass media, in particular, have always been important topics through my art.

In my opinion, mass media form mass opinions, which can be manipulated for political or economic reasons, and therefore help building walls between categories of people, religions, countries, etc. My concerns, similar to those of the group 18591km, although less literal, make me subscribe 100% to its project.

 

…………………………………………………………..

 

Art Works Price List

Ece Gauer

Woman in red———500,00EUR

Walls of censor———-300,00EUR

——————————————————————–

Anders Bigum

Black (left image)injet fine art print on hahnemühle pare 13,5x24cm on A3———80,00EUR

White (left image)injet fine art print on hahnemühle pare 13,5x24cm on A3———80,00EUR

Black and White pair———150,00EUR

The prints are a limited edition of 20

For more info: office@andersbigum.com

———————————————————————

Rafael Gil

Topography of Wall (20 units)——2.500,00EUR / Per unit——187,50EUR

Suite Berlinesa (six lithographies)——–1.875,00EUR

———————————————————————

Maria Nitulescu

Dialogue with the world / Religion as part of Culture – photography C print – 32/12cm———790,00EUR

Dialogue with myself / Eliminating cultural boundaries – photography C print – 32/8 cm——–750,00EUR

Cultural distance draws cultural boundaries – photography C print – 42/8 cm——————-750,00EUR

Prices including frame

——————————————————————–

Nuno Marcelino

175km: where EU geographically begins but morally ends – price per unit——–85,00EUR

——————————————————————–

Guillaume Tissier

Taliban strikes back—1.000,00EUR

Call 911—————1.200,00EUR

God Bless America——1.500,00EUR

Come play War on Terror—1.500EUR

18591km Art Exhibition at Silent Green Kulturquartier

cartelconfirma

November 2015 , Wed 25 – Sat 28

Vernisage 25th Nov – Program:

from 19h – Welcome Time

19.30h – Opening speech

20.30h – Performance by Catherine Duquette

21.30h – Audio visual interaction by Safy (SNIPER) – A collaboration between Safy and matannicola for the bodieSlanguage performance. Original idea by matannicola, video composition by Safy.

26th & 27th Nov –  Exhibition opening times:

16 – 22h

28th Nov – Exhibition opening times:

12 – 24h

Finisage 28th Nov – Program:

18:30h – Concert by Elisa Martell & Pablo Woizinski

19:30h – Closing Speech

20:30h – Performance by Catherine Duquette

21:30h – Audio visual interaction by Safy (SNIPER) –

A collaboration between Safy and matannicola for the bodieSlanguage performance. Original idea by matannicola, video composition by Safy.

18591km art Exhibition

What is the meaning of the word ‘Wall’? According to the dictionary: „ … a vertical and compact architectural element which divides and separates one or more territories or space units. “ A good example for this is of course the Berlin Wall but also the contemporary ones, like the walls between US & Mexico, Morocco & Melilla, Israel & Gaza, Rio de Janeiro…But does a wall always have to be physical? or are they actually just the materialization of ideas of any kind of nature: political, economic, cultural, moral…giving shape to our lives and our relations, creating prejudices and fears, molding our opinion as a result of a single sided reporting?

These questions have driven 18591km to come together with a group of artists with different backgrounds, who in many multiple ways, based on their own experience, have thought through these realities and created their artworks, which will be featured at the 18591km Art Exhibition.

With: Nicolas BärnreutherVicente Expósito, Sara Arias Ortega, Mahdieh Shadmehr, Tarik Mesli, Carolina Cristòfol, Ira Moven, Salym Fayad, Javier Blanco, Anders Bigum, Rafael Gil, Koray Arman & Cem Dildar, Maria Nitulescu, Nathalie mpjohann, Catherine Duquetter, Lapo Simeoni, Ece Gauer, Guillaume Tissier, Timmotheus Rolandinius Sülou Artih, D.S. León, Awk, Arystan Petzold, Nuno Marcelino.

With the collaboration of: Safy “Sniper”, Gemma Parellada, Pablo Guerrero Alberola, Elisa Martell and Pablo Woizinski.

This exhibition is a part of the ongoing project:
www.18591km.org

Location:

silent green Kulturquartier GmbH
Gerichtstraße 35
13347 Berlin

www.silent-green.net

https://www.facebook.com/events/833925740059898/