RHIZOME PARKING GARAGE at The Wrong Biennale
Adam Vackar, Alireza Mohammadi, Andrew Rutherdale & ZH Fevek, Aniara Omann, Ben Sang, Bob Bicknell-Knight, Szilvia Bolla + Lőrinc Borsos, Botond Keresztesi, Camille Soulat, Camille Yvert, Claude Eigan, Claudia Dyboski, Coleman Mummery, Deirdre Sargent, Dennis Rudolph, El Pelele, Esther Gatón, Iain Ball, Ian Bruner, Inside Job, Ittah Yoda, Joshua Goode, Katja Larsson, Kawarga, KOTZ, Livy Onalee Snyder, Matthew Cangiano, Mikkel Carlsen, mrzb, Nico Lillo, Noah Travis Phillips, Philip Hinge, Pinar Marul, PLAGUE, Rachel McRae, René Wagner, Riccardo D’Avola-Corte, Rolf Nowotny, RPG/Moscow, RPG/Mulhouse, France, Sean Downey, Sebastian Burger, Simin Yaghoubi, Sophia Oppel, Tahmine Mirmotahari, Theo Triantafyllidis, Thily Vossier & Gaspar Willmann, Tomasso Gatti, Underground Flower, Yannis Voulgaris, Youri Johnson.
The Wrong Biennale, 2019/2020
Worldwide
Botond Keresztesi
Botond Keresztesi
Claude Eigan
Claude Eigan
Yannis Voulgaris
Yannis Voulgaris
Yannis Voulgaris
Aniara Omann
Aniara Omann
Aniara Omann
PLAGUE
PLAGUE
Pinar Marul
Matthew Cangiano
Matthew Cangiano
Theo Triantafyllidis
Adam Vackar
Esther Gatón
Esther Gatón
Iain ball
Iain ball
Iain ball
Ian Bruner
Inside Job
Inside Job
Katja Larsson
Mikkel Carlsen
Szilvia Bolla + Lőrinc Borsos
Nico Lillo
Rene Wagner
Bob Bicknell-Knight
Rolf Nowotny
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson
Tahmine Mirmotahari
Ittah Yoda
Riccardo D’Avola-Corte
Riccardo D’Avola-Corte
Ben Sang
Pablo Stahl
Neckar Doll
Neckar Doll
stones” is an oblique reference to the Situationists’ enigmatic graffiti
“beneath the paving stones, the beach.”
be formed from the pre-existing state laying just under our feet. Through the
act of revolt, taking up the street, both physically in the act of throwing the
paving stones towards oppressors in riot, and metaphorically dismantling the
given structure(s) would reveal the materials for and the possibility of
enacting a better future.
post-truth, neoliberal, mass data politics, (or
techno-military-industrial-hypercapitalism (not ot mention “white
supremacist capitalist patriarchy”) our oppression appears like a beach,
it is appealing and filled with entertainment and distraction, it mimics
freedom, and seems so expansive; in turn the oppression is met with shrugs of
indifference. Coupled with/to this, the apathy of the subject is placed within
a history that acts like the ouroboros – constantly feeding on its self as it
regenerates. It is the “end of history” and all we have to guide is
is our hauntology. Radicalism(s) of Human & Civil Rights movements of the
last century seem to have been replaced with digital activism, surveys/polls,
and memes, more and more acts of revolt hold the exist completely within the
bounds of the oppressor’s structures (and we all know that “the master’s
tools will never dismantle the master’s house”). The surveyor and
respondent are now one in the same, we are more and more becoming
achievement-subjects, the self-oppressed.
less and less achievable, or even imaginable, the seams are being removed every
day. Smoothness and sameness infect every inch of life. (It is important to
note here that the seams in concrete are ‘expansion joints’ they are used to
separate slabs of concrete from other parts of the structure and thus allow
independent movement between adjoining structural members, minimizing critical
cracking. This is to suggest that seamlessness also introduces an instability,
a weakness, a greater likelihood of defect and structural collapse.)
alternative, a possible source of disruption, and allows for an avenue of
re-organizational practices, modes of thinking and acting. The many portals and
pathways in the multi-connected rhizome, as well as the dissemination of
thoughts and knowledge, have the potential to disintegrate and devour the
entrenched ideologies of the imposed structure from below/within.
the same” (the agony of eros). It is a labyrinth in which the ceiling is
often the floor, a schizophrenic environment that does not allow the face to be
recognized. The(se) structures or modern functional ruins are a global
phenomenon and in most cases duplicate a common design. In this way the parking
garage can act as a portal, an access point into multi-linear spaces (this way
amd/or that). All parking garages comprise a kind of universal parking garage,
when we are in one parking garage we are in all parking garages.
displaced direction and have effectually erased all horizons. The rhizomatic
connections of the internet, a(nother) decentralized and/or multicentered
domain. The parking garage when empty is a blank and timeless space, each floor
or level a duplicate of the prior and the next and each parking garage a
duplicate of the last and the next. In this way it represents the equalizing
malignancy of capitalism in its attempt to make everything exchangeable. When
occupied by workers and/or consumers the fixation of individu(aliz)ation
(masking/obscuring the sameness) can be seen with its dehumanizing forces in
one’s wandering and being lost (with)in the labyrinth, a maze in which objects
and surroundings lose their distinctions, and collapse into one (another). That
which was once an extension of the self (the fetishized/fetishizing vehicle) is
seen to be an extension of the apparatus (society, other(s), the prevailing
order and systemization of the economy, the so-called self, the endless lines
of communication) that which individuals are inseparable from and immanent
within – eating and being eaten; the ouroboros.
all devouring and being devoured by one another, multiple tenses at once)
experiment, to test and/or investigate some of the observable limits, a cutting
away at the present (past & future).
representation of the timeless and distanceless space that we inhabit (online
& IRL), while the internet acts as its rhizomatic companion of
transmission/distribution and presentation (communication).