Hailweed brings together artists, writers and collective agencies to investigate notions of dependency and parasitic potential within oppressive infrastructures whether emotional, financial or biopolitical. The exhibition space will become a host for this set of wild (eco)systems; rethinking the use and abuse value of artistic exchange relationships in terms of sovereignty, identity, care and self-interest.
Looking at new methodologies and modes of operation within dominant structures, Hailweed invites multiple projects to create a space of overlapping, competitive and osmotic participants. At the heart of Hailweed is an investigation into the power dynamics and interest representations at play within different artistic relationships between both artists and institutions.
Hailweed stands as an offer of possibility and marks the launch of Auto Italia’s new project space on Bonner Road with a collective imagining of formats for the future usage of artistic space.
Aimar Arriola is a curator and researcher based in London and the Basque Country. His research is concerned with queer/cuir, post-/de-colonial and post-human archives. He is a 2012 ICI Independent Vision Curatorial Award Nominee. In recent years, he has developed projects in Visual AIDS, New York; Arteleku, San Sebastián; Reina Sofia Museum, Madrid; CA2M, Madrid, among others. He is a founding member of the collectives ‘Magnetic Declination’ and ‘Equipo re’. With the latter, he develops the project ‘Anarchivo sida’ [AIDS Anarchive], which takes cultural production around the HIV/AIDS crisis in southern Europe and Latin America as its starting point. A graduate from MACBA’s now extinct Independent Studies Program (Barcelona), currently he is a CHASE AHRC doctoral fellow at the Department of Visual Cultures, Goldsmiths.
The Research Center for Proxy Politics (RCPP) aims to explore and reflect upon the nature of medial networks and their actors. Over the course of three years, beginning in September 2014 the center will host workshops, lectures and events at the Universität der Künste, Berlin.
Selected writing and participation by the center: “A single swing of the shovel”, Former West: Art and the Contemporary After 1989, ed. Boris Buden, Maria Hlavajova, Simon Sheikh (forthcoming December 2016); “The Body of the Web”, for Skulptur Projekte Münster 2017 in frieze d/e (2016); “Plunge Into Proxy Politics”, Springerin (2015); and “Landscape Media” (workshop), The School of Kyiv (Kyiv Biennial 2015).
RCPP is run by Boaz Levin, Maximilian Schmoetzer and Vera Tollmann, under the auspices of Hito Steyerl’s Lensbased-class at the Universität der Künste Berlin.
Syria Mobile Film Festival. Video footage shot via mobile phone cameras had and have an important role in Arab world protest movements. With thousands of activists and journalists bravely spreading clips outside the country and challenging dictatorships by sound and photo, the mobile camera has become a key tool in peaceful struggle and free expression.
Since 2014, Syria Mobile Film Festival has shown its films for local audiences inside Syria despite the hard security conditions, and it has wandered internationally bringing with it the directors’ voices to more than twenty cities around the world. The festival tries to create a unique platform to encourage professional and amateur directors in making creative films via mobile cameras with low budgets.
In addition to cinematic shows, the festival provides opportunities to train young directors through the training program “pixel” and a number of grants and awards. Syria Mobile Film Festival aspires to be a part of global cinema scene, through cooperation with international and Arab festivals and with institutions that work with moving image. Syria Mobile Film Festival seeks to present a free and different cinematic vision, a vision believes that the most accurate image is not necessarily the clearest one.
Suzanne Treister is a London based artist. She was a pioneer of digital and web-based art in the early 1990s, developing fictional worlds and international collaborative organisations. Her projects often comprise fantastic reinterpretations of given taxonomies and histories that examine the existence of covert, unseen forces at work in the world, whether corporate, military or paranormal. Recent exhibitions include, P.P.O.W., New York, USA (2016); Bard Hessel Museum, New York, USA (2016); Fig-2, ICA, London (2015); Centre Pompidou, Paris, France (2015); Kunstverein München, Germany (2015); ZKM, Karlsruhe, Germany (2015); 10th Shanghai Biennale, China (2014) and 8th Biennale de Montréal, Canada (2014).
Special thanks to Sabel Gavaldon and Lois Stonock, without whom Hailweed would not have been possible.