SecondWorldsspreads_katalog WHW Gratz

7/31/2019 SecondWorldsspreads_katalog WHW Gratz

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2 s e c o n d w o r l d 3s e c o n d w o r l d

... Humans are ar moreinterested metaphysicians than

they commonly admit today.A vague attendant eeling ortheir peculiar cosmic situationseldom leaves them. Death,the minuteness o the entireearth, the uncertainty o theego illusions, the senselessnesso existence, which becomesmore insistent with the passingyears...

Alexander Kluge,Learning processes with a

deadly outcome (1973)

What we hear rom all sides is the

story o inevitability there is no

other way, its common sense, it

has to be done, we have no choice.

As Frederic Jameson points out,universal belie that the historic alternatives to

capitalism have proven unviable and impossible,

and that no other socio-economic system is

conceivable, let alone practically available0

hinders the possibility o reimagining our social

existence in any meaningul way. Although

opting or the singular in its title, the exhibition

Second World relates to the notion o multiold

worlds, possible, parallel, ctional, desired

worlds, worlds dierent to the one we live in, inwhich the past might have played out dierently

and the uture is not irrevocably determined

by the present. But rather than slipping into a

celebration o art as an endangered enclave o

imagination and ree creativity, Second World

remains rmly entrenched in the realities o

the present, which happen to be dominated

by the debilitating dogma o inevitability. The

exhibition starts rom the multitude o worlds

0 Fc Jm, Inroducion o Archaeologies o he

Fuure. The Desire Called Uopia and Oher Science

Ficions, V, Lndn/Nw Yk, , . xii

conjured between the unrealised possibilities

that haunt the present, and the realistic threats

that might as well cancel any imaginable uture,and at the same time, it points to the act that

the one world we live in, whose connectivity

and globe-trotting is cynically promoted by the

marketing o telecommunications companies,

is actually divided and ragmented into

multiold worlds, stratied into various levels

o exploitation and privilege, and splintered into

enclaves o identities.

The notion o a second world is taken here

as critical and cognitive estrangement, in the

way in which Darko Suvin, one o the leadingtheorists o science ction, and an expert on

Bertolt Brecht, proposes to interpret a radicaldeamiliarisation that science ction oten

attempted to convey. Its explorations can lead

to a new perspective on the contingencies

o our world: oppressive social constructions,

conditions o neo-liberalism reigning supreme,

overpopulation, environmental catastrophes,

deregulated labour, class divisions, etc. Detached

and estranged as it is rom the mundane and

very real hurt produced by these contingencies,

this perspective could break through the

systemic, cultural and ideological closures and

overcome the inherent incapacity to conceive

potentialities beyond them.

On one hand the exhibition invests in the

notion o Second World as a Cold War geo-

political euphemism or a dark abyss between

the First and Third Worlds that oered an

illusion o the progress that was sooner or later

bound to embrace all the people o the world,

and on the other it relates to the possibility o

imagining the uture, not as something that

comes ater tomorrow, but which is invested

with struggles ought in the present. As GeorgeOrwell puts it in 1984, Who controlsthepastcontrolsthe uture, and who controlsthe present

controlsthepast. The exhibition uses the notion

o second world as a cut through the temporal

axis, looking at how to rescue some o the

vision o emancipation and equality this notion

contained, without succumbing to the ideology

o progress. We have to accept the act that we

have entered the phase o systemic ailure, inwhich, as Immanuel Wallerstein poignantlyputs it, The outcome may be inherently

unpredictable, but the nature o the struggle is

clear.02

With the ideology o economic growth

replacing that o progress, second world as

a geo-political term ell out o use, but in

recent decades the inequalities and divisions

it contained have increased in a surge o

inequality, as Marxist historianEric Hobsbawmdescribes a dramatic growth in economic and

social inequalities both within the states and

internationally. Compromise between the

demands o capital and labour started to rapidly

deteriorate ater existing or only a ew short

decades, ollowing the crisis o 1973, as it became

increasingly clear that golden age growth no

longer allowed both prots and non-business

incomes to rise without getting in each others

way.03 As a national and etatistic endeavour,

this compromise, which was the basis o two

otherwise diametrically opposed ideologies,

Western liberalism, and the pseudo-Leninist

Soviet project, today is invoked with utile

nostalgia. Contrary to the liberal discourse o

the post-1989 transition, with the demise o

Cold War bipolarity, rather than moving on

and catching-up with the capitalist countries

o the First World, most o the Second World in

act experienced rapid Third-Worldization. But

what has become increasingly clear during the

last decades, not least through the successive

bursts o nancial bubbles in country ater

country, is that the rise in inequality in one place

is not independent o the same process in the

rest o the world, on the contrary, it is very much

related. The phenomenon o Third-Worldization

02 Imm W, Scal , New Le

Review 6, Mac-l , . 4

03 Ec Hbbwm, The Age o Exremes, bac, Lndn,

4, . 4

Second WorldWhat, How & for Whom/WHW

03 WHW: Second World

08 Darko Suvin: On the Novum Where is the progress progressing to?

Artists 12 Jumana Emil Abboud

14 Yael Bartana

18 Nemanja Cvijanovi

20 Decolonizing Architecture Art Residency / DAAR

24 Marcelo Expsito & Vernica Iglesia28 Ruben Grigoryan

30 Bouchra Khalili

32 Daniel Knorr

34 Maha Maamoun

36 Mona Marzouk

38 Tom Nicholson

40 Chan-Kyong Park

42 Lala Rai

46 Marko TadiZagreb Exhibitions 50 Nevin Alada

52 Tamar Guimares

54 Isa Rosenberger

60 Stephen Wright: Betwixt Worlds


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The cost of themobility of capital ismet by deterioratingsocial structures, andwhile workers needfor migration growsin direct correlationwith the movementof capital, theresulting politicalinstrumentalisation ofimmigration issues andborder regulation feedsupon popular fears andanxieties, in their turnfuelled by increasingmaterial insecurityfor the majority ofthe population. Thesecurity promised bythe post-World War II

social-democraticstate is replaced bya growing focus onphysical security.

progressed as the brutal socio-economic reality

o the Third World became highly present

throughout metropolitan areas o the world,no matter where they are, and while disparity

increased everywhere, both avelas and mega-

yachts became global phenomena.

The cost o the mobility o capital is met

by deteriorating social structures, and while

workers need or migration grows in direct

correlation with the movement o capital, the

resulting political instrumentalisation o

immigration issues and border regulation eeds

upon popular ears and anxieties, in their turn

uelled by increasing material insecurity or

the majority o the population. The security

promised by the post-World War II social-

democratic state is replaced by a growing ocus

on physical security. This phenomenon, and

the way it is reected in the new systems o

borders, orms o segregation and restrictions

o movement, is explored in the project Country

Europa (2010-2011) by Marcelo Expsito andVernica Iglesia. By tackling several modelso segregation and control, be it imposed, as in

the case o prison, or voluntary, as in middle-

class gated communities in Argentina,Country

Europa questions mainstream and alternative

ways o subjectivation and sel-representation,

while the inclusion oExpsito and Iglesiasexperiences o travelling between Latin America

and Europe shows the paradoxical openness

o the international art world. Interwoven

narratives that draw an alternative cartography

o the world are the basis oBouchra KhalilisThe Mapping Journey (2008-2011). This project

outlines the hardships o immigrants rom

dierent countries during their travels and while

they are trying to reach desired destinations in

Europe. Through personal stories the journeys

note detours and sudden changes o direction

o their travellers, reecting on a number o

pertinent issues related to immigrant status in

contemporary Europe, and portraying the real

maps as problematic, arbitrary, constructed and

conicting.

Our sense o reality is burdened by strong

eelings o extreme ragility and contingency,

related to a perception o reality as one o thepossible outcomes that might have turned out

dierently, in which other possible outcomes

continue to haunt us as a spectre o what

might have happened. Many works in Second

World explore intricate connections between

potentiality and actualisation in this world.

The Monument to the Memory o the Idea o the

Internationale(2010) by Nemanja Cvijanovitakes up the idea o social revolution and its

place in the collective memory. Through several

stations that are located in the exhibition, the

sound o the Internationaleis amplied, yet

the tune itsel becomes mixed with the noise

and background sounds o the gallery, losing

its original clarity. By engaging with material

documenting the recent Egyptian revolution,

Night Visitor(2011) by Maha Maamoun, addressesthe revolutionary joy in the present, but also

takes a hard look at dierent emotions, including

the awareness o the ephemerality o the

revolutions eects.

Chan-Kyong Parks works in the exhibitionreect on the painul consequences o the Cold

War on Korea, examining ways in which politics

and power intersect with ction and myth. The

Sets (2002) shows the sets o the North Korean

and South Korean lm studios, as well as the

army sets or exercises in street warare in South

Korea, while Power Passage (2004) goes back to

the US/USSR Cold War space race, relating it to

underground spy tunnels dug by North Korea

to inltrate South Korea. These works deal

with the seemingly wasted possibilities o the

past, attempting to address both the ideological

instrumentalisations and latent potentialities

o the present. The interrelation o history

with the present is central to the Monument

or the Flooding o Royal Park(2008-2011) by

Tom Nicholson. Mainstream accounts o theatal colonial expedition by Burke and Willsin nineteenth century Australia ocus on their

perceived heroism and victimhood in the

service o building the young nation. Taking

the opposite approach, Nicholsons projectengages an array o conceptual practices to

reect on the possibilities that were present in

the early encounters between Aboriginal and

non-Aboriginal people.Jumana Emil Abboudsworks Night Journey (2010) and O Whale, Dont

Swallow Our Moon! [Quest or Spouse] (2011) use

a metaphorical approach to address issues o

memory, loss, longing and identity in reerence

to the political situation in Palestine, where

resilience and the struggle or continuity play

a major role in osetting the results o violent

displacements. Using play, olklore, myths and

devotional practices which attempt to bring

together the supernatural and earthly,JumanaEmil Abboud reects on dierent phenomena oPalestinian culture, meditating on the role o the

mystic and magical in the social process.

Since Leibniz claimed that our world mustbe the best o all possible worlds, the notion

o possible worlds wanders rom the semantics

o modal logic, rst introduced in the 190s by

Saul Kripke and his colleagues, to the theoryo ctional worlds which have used possible-

worlds theory to address notions o literary truth,

the nature o ctionality, and the relationship

between ctional worlds and reality. A number

o works in the exhibition challenge the

imagination, through the unexpected and yet

unspectacular, to the almost subdued, drawing

new meanings rom estrangement and possible

misunderstandings. Man is replaced by his best

riend in a number o domestic and outdoor

scenes in Terra Nova (2003-200), paintings by

Ruben Grigoryan. The surreal nature o petit-bourgeois scenes o aection and leisure with

dogs as protagonists makes them both unny

and melancholic, pointing to the ragility o

the disappearing middle-class. We Used To Call

It: Moon! (2011) by Marko Tadi reers to twoclassics o science ction, The Invention o Morel

by Adol Bioy Casares and From Earth to theMoon byJules Verne, which both mention thediscovery o a previously unidentied planet.

By looking into ways in which the existence o

the second moon would have been represented

in popular consciousness and imagery, the

work challenges the limits o the notion o

the paradigmatic change and deeply set ideas

about the nature o the reality. Daniel KnorrsArcheotecture(2011), a construction that is both

a sculpture and inhabitable space, conates

the origin and nightall o mankind in an

image condensed in a kind o cave, a hole or a

ruin, destroyed rom within as i subjected to

internal orces orchestrated by a premonition

o the uture that had already acted on the past,

materialised within the exhibition space as a

common denominator o civilization.

As Sven Ltticken notes, or todays liberals,the collapse o existing order can solely be

imagined in biological and ecological terms;

social and political change can only take the orm

o minor adjustments. 04 The biomorphic, hybrid

orms oMona Marzouks The Bride StrippedBare by Her Energys Evil (20082011) combine

elements o organic orms, mythological beings,

architecture and technology, involving dierent

cultural reerences, and challenging the notion

o natural and human history as separate entities.

Creating a uturistic imagery with reerences to

science-ction antasy, the work meditates on

a number o environmental issues and threats.

Set in the year 2027, Lala Rais project TheDamned Dam (20102011) uses epic and oral

traditions rom Bosnia and Herzegovina in its

oray into the uture, rom which it looks back

into the socio-political conditions o Bosnian

post-war reality. Through the dystopian lens,

ocusing on the moti o natural catastrophe, the

04 v Lck, Unnaal H, New Le Review 4,

Ma-Jn

project stages the disastrous consequences o

current socio-economic organisation.

Daring to propose a seismic change or both

Europe and the Middle East, even in times

when it seems completely unattainable, the

Jewish Renaissance Movement in Poland(JRMiP),

established in 2007 by artist Yael Bartana, callsor the return o 3,300,000 Jews to Poland.

Without resorting to an apologetic approach

the project calls or solidarity in the ace o

passivity and deeat, and questions the level o

contemporary belie in the power o mainstream

political processes. Decolonizing ArchitectureArt Residency projects start by analysing thedevastating eects o the spatial segregation

and ragmentation o Palestine resulting rom

the Israeli occupation, and go urther towards

imagining the seemingly impossible the re-use,

re-habitation, and recycling o the architecture

o the occupation. By opening up an arena

o speculation about the possible uture o

Palestine, this collective eort encourages both

imaginative and practical planning about the

areas that already have or will be liberated rom

a colonial occupation. Indicating the need or a

move rom the deensive to a planning approach,

even in a situation where planning as such

seems to support the illusory akin to creating

utopia, it points to the crucial, and maybe the

only important characteristic o art practice

today oering an imperative to imagine radical

alternatives, even in situations, or precisely in

the situations, when they seem utterly, and

hopelessly impossible.

Jm Em Abb, m Nigh Journey(Drawings), m, m Nigh Visior,


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I created Curse Carriers as a direct response

to Alain Badious thesis in which he assertsthat: Non-imperial art must be as rigorous as

a mathematical demonstration, as surprising

as an ambush in the night, and as elevated as a

star. This could be a conrontation between two

ideologies that are multiaceted and ancient,

each gure represents an ideology.

Mona Marzouk zk: Curse Carriers,


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s e c o n d w o r l d 9s e c o n d w o r l d

The concept oprogress should be

anchored in the ideao catastrophe. The

act o it going on isthe catastrophe: not

what is in each case inront o us but what is

in each case given. Walter Benjamin

SF & the Novum

1.My argument starts with the conclusion in my 1979Metamorphoses of Science Fiction that SF is distinguishedby the narrative hegemony o a ctional yet cognitivenovum a term adapted rom Bloch to mean a totalizingphenomenon or relationship deviating rom the authors andimplied addressees norm o reality. The (as yet) Unknownor Other introduced by the novum is the narratives ormaland cognitive raison dtre as well as the generator, validation,and yardstick o its story or plot (siuzhet). Such a novumhas as its correlate a ctional alternate reality, centeredon deviant relations o the narrative agents to each otherand to their world, and resulting in a diferent chronotope

diferent relationships developing in narrative time andspace. Born in history and judged in history, the novum hasan ineluctably historical character. So has the correlativectional reality or possible world which, or all itsdisplacements and disguises, always corresponds to the wish-dreams and nightmares o a specic sociocultural class oimplied addressees. Finally, the novum can be diferentiatedaccording to its degree o magnitude (rom one discrete new

invention to a whole radically changed locus and agents),according to the cognitive believability o its validation, andaccording to its degree o relevance or a given epoch andclass o readers.

Smma: ; FOML N SOIOLOGIL NLYSIS IN TH

STHTIS OF TH SIN-FITION NOVL, n Pc.

ng IL. d. Z. v al. Innbck: MO,

8, 4-48

1. The Novum & Cognition

1.1....Now, no doubt, each and every poeticmetaphor is a novum, while modernprose ction has made new insights into man its

rallying cry. However, though valid SF has deep

afnities with poetry and innovative realistic

ction, its novelty is totalizing in the sense

that it entails a change o the whole universe

o the tale, or at least o crucially important

aspects thereo (and that it is thereore a means

by which the whole tale can be analytically

grasped). As a consequence, the essential tension

o SF is one between the readers, representing acertain number o types o people o our times,

and the encompassing and at least equipollent

Unknown or Other introduced by the novum.

This tension in turn estranges the empirical

norm o the implied reader (more about this

later). Clearly the novum is a mediating category

whose explicative potency springs rom its rare

bridging o literary and extraliterary, ctional

and empirical, ormal and ideological domains, in

brie rom its unalienable historicity. Conversely,

this makes it impossible to give a static

denition o it, since it is always codetermined

by the unique, not to be anticipated

situationality and processuality that is supposed

to designate and illuminate. But it is possible to

distinguish various dimensions o the novum.

Quantitatively, the postulated innovation can

be o quite dierent degrees o magnitude,

running rom the minimum o one discrete new

invention (gadget, technique, phenomenon,

relationship) to the maximum o a setting

(spatiotemporal locus), agent (main character

or characters), and/or relations basically new

and unknown in the authors environment.

(Tangentially I might say that this environment

is always identiable rom the texts historical

semantics, always bound to a particular time,

place, and sociolinguistics norm, so what would

have been utopian or technological SF in a given

epoch is not necessarily such in another except

when read as a product o earlier history; in other

words, the novum can help us understand just

how is SF a historicalgenre.)

1.2. The novum is postulated on andvalidated by the post-Cartesian andpost-Baconian scientic method. This does not

mean that the novelty is primarly a matter o

scientic acts or even hypotheses; and insoar

as the opponents o the old popularizing

Verne-to-Gernsback orthodoxy protest against

such a narrow conception o SF they are quite

right. But they go too ar in denying that what

dierentiates SF rom the supernatural literary

genres (mythical tales, airy tales, and so on,

as well as horror and/or heroic antasy in the

narrow sense) is the presence o scientic

cognition as the sign or correlative o a method

(way, approach, atmosphere, sensibility)

identical to that o a modern philosophy

o science.0 Science in this wider sense o

methodically systematic cognition cannot

be disjoined rom the SF innovation, in spite

o ashionable currents in SF criticism o the

last 1 years though it should conversely be

clear that a proper analysis o SF cannot ocus

on its ostensible scientic contentor scientic

data. Indeed, a very useul distinction between

naturalistic ction, antasy, and SF, drawn byRobert M. Philmus, is that naturalistic ctiondoes not require scientic explanation, antasy

does not allow it, and SF both requires and

allows it.

Thus, i the novum is the necessary condition

o SF (dierentiating it rom naturalistic

ction),02 the validation o the novelty by

scientically methodical cognition into which

the reader is inexorably led is the sucient

condition or SF. Though such cognition

obviously cannot, in a work o verbal ction, be

empirically tested either in the laboratory or by

observation in nature, it can be methodically

developed against the background o a body o

already existing cognitions, or at the very least

as a mental experiment ollowing accepted

scientic, that is, cognitive, logic. O the two,

the second alternative the intrinsic, c ulturally

acquired cognitive logic seems theoretically

the crucial one to me. Though I would be hard

0 Bnd dcn n Meamorphoses o Science

Ficion, al m a Uan and Scnc,

T Mnna vw N.S. N. 6 (6), and nw al

On Hzn mlg and Scnc. cal

Qal . (): 68-; //nlnlba.wl.

cm/d/./j.46-8..4./ll

02 Wk avwdl wn wn a nnalc md,

ncall allg (b al wm, a, and lng

all al Mncanad), cn a cag

wc qn w a

nvm cann vn b d, bca d n

nw wld, agn, lan a cn

alb vnal nd, b a immediaely ransiive

and narraively nonauonomous man direc and

susainednc a mcal wldand m m bl n . T qn w

an allg SF, and vc va, , cl akng,

manngl, b clang a b

anwd n ngav. T man a c

cn and g aa m wk

Bg cann b clamd SF: g I

wld ag a In he Penal Colonyand The Library o

Babel wld b amng cn.

put to cite an SF tale the novelty in which is not

in act continuous with or at least analogous

to existing scientic cognitions, I would

be disposed to accept theoretically a aint

possibility o a ctional novum that would at

least seem to be based on quite new, imaginary

cognitions, beyond all real possibilities known

or dreamt o in the authors empirical reality.

(My doubts here are not so much theoreticalas psychological, or I do not see how anybody

could imagine something not even dreamt o by

anyone else beore; but then I do not believe in

individualistic originality.) But besides the real

possibilities there exist also the much stricter

though also much wider limits o ideal

possibility, meaning any conceptual or thinkable

possibility the premises and/or consequences o

which are not internally contradictory. Only in

hard near-uture SF does the tales thesis have to

conorm to a real possibility to that which is

possible in the authors reality and/or according

to the scientic paradigm o his c ulture. On the

contrary, the thesis oany SF tale has to conorm

to an ideal possibility, as dened above. Any

tale based on a metaphysical wish-dream or

example omnipotence is ideally impossible

as a coherent narration (can an omnipotent

being create a stone it will not be able to lit?

and so orth), according to the cognitive logic

that human beings have acqured in their culture

rom the beginnings to the present day. It is

intrinsically or by denition impossible or SF

to acknowledge any metaphysical agency, in the

literal sense o an agency going beyondphysis

(nature). Whenever it does so, it is not SF, but

a metaphysical or (to translate the Greek into

Latin) a supernatural antasy-tale.

1.3.Thus science is the encompassinghorizon o SF, its initiating anddynamizing motivation I reemphasize that

this does not mean that SF is scientic ction

in the literal, crass, or popularizing sense

o gadgetry-cum-utopia/dystopia. Indeed, a

number o important clarications ought

immediately to be attached:I shall mention

three. A rst clarication is that horizon is notidentical to ideology. Our view o reality or

conceptual horizon is, willy-nilly, determined

by the act that our existence is based on the

application o science(s), and I do not believe we

can imaginatively go beyond such a horizon; a

machineless Arcadia is today simply a microcosm

with zero-degree industrialization and a lore

standing in or zero-degree science. On the other

hand, within a scientic paradigm and horizon,

ideologies can be and are either ully supportive

o this one and only imaginable state o aairs,

or ully opposed to it, or anything in between.

Thus, anti-scientic SF is just as much within the

scientic horizon (namely a misguided reaction

to repressive capitalist or bureaucratic abuse

o science) as, say, literary utopia and anti-utopia

both are within the perectibilist horizon.

The so-called speculative ction (or example,

Ballards) clearly began as and has mostlyremained an ideological inversion o hard SF.

Though the credibility o SF does not depend

on the particular scientic rationale in any tale,

the signicance o the entire ctive situation o

a tale ultimately depends on the act that the

reality that it displaces, and thereby interprets

is interpretable only within the scientic or

cognitive horizon.

A second clarication is that sciences humaines

or historical-cultural sciences like anthropology,

ethnology, sociology, or linguistics (that is, the

-g k, Power Passage, 4

Darko SuvinOn the Novum: Where is the progress progressing to ?

m,

m

Nigh Visior,

mainly nonmathematical sciences) are equally based on such scientic methods as:

the necessity and possibility o explicit, coherent, and immanent or nonsupernatural

explanation o realities; Occams razor; methodical doubt; hypothesis-construction;

alsiable physical or imaginary (thought) experiments; dialectical causality and statical

probability; progressively more embracing cognitive paradigms; et sim. These sot

sciences can thereore most probably better serve as a basis or SF than the hard natural

sciences; and they have in act been the basis o all better works in SF partly through

the characteristic subteruge o cybernetics, the science in which hard nature and sot

humanities use. A third clarication, nally, is that science has, since Marx and Einstein,been an open-ended corpus o knowledge, so that all imaginable new corpuses which do

not contravene the philosophical basis o the scientic method in the authors times can

play the role o scientic validation in SF.


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2.1.Furthermore, the novum intensiesand radicalizes that movementacross the boundary o a semantic eld (dened

by the authors cultural norm) which always

constitutes the ctional event. In naturalistic

ction this boundary is iconic and isomorphic:

the transgression o the cultural norm

stands or a transgression o a cultural norm;

Mme. Bovarys adultery stands or adultery. In

SF, or at least in its determining events, it is not

iconic but allomorphic: a transgression o the

cultural norm is signied by the transgression o

a more than merely cultural, o an ontological,

norm, by an ontic change in the character/

agents reality either because o his displacement

in space and/or time or because the reality

itsel changes around him. I do not know a

better characterization than to say that thenovelty makes or the SF narrations specic

ontolytic eects and properties. Or perhaps

since, as dierentiated rom antasy tale or

mythological tale, SF does not posit another

superordinated and more real reality but an

alternative on the same ontological level as

the authors empirical reality one should say

that the necessary correlate o the novum is an

alternate reality, one that possesses a dierent

historical time corresponding to dierent

human relationships and sociocultural norms

actualized by the narration. This new reality

overtly or tacitly presupposes the existence o

the authors empirical reality, since it can be

gauged and understood only as the empirical

reality modied in such-and-such ways. Though I

have argued that SF is not by denition cannot

be an orthodox allegory with any one-to-one

correspondence o its elements to elements

in the authors reality, its specic modality o

existence is a eedback oscillation that moves

now rom the authors and implied readers norm

o reality to the narratively actualized novum

in order to understand the plot-events, and now

back rom those novelties to the authors reality,

in order to see it aresh rom the new perspective

gained. This oscillation, called estrangement by

Shklovsky and Brecht, is no doubt a consequenceo every poetic, dramatic, scientic, in brie

semantic novum. However, its second pole is in

SF a narrative reality sufciently autonomous

and intransitive to be explored at length as to its

own properties and the human relationships it

implies. (For though mutants or Martians, ants

or intelligent nautiloids can be used as signiers,

they can only signiy human relationships, given

that we cannotat least so ar imagine other

ones.)

2.2. The oscillation between the authorszero world and the new realityinduces the narrative necessity o a means o

reality displacement. As ar as I can see, there are

two such devices: a voyage to a new locus, and a

catalyzertransorming the authors environment

to a new locus; examples or the two could be

Wellss Time Machine and Invisible Man. Therst case seems better suited to a sudden and

the second to a gradual introduction o a new

reality; no doubt, all kinds o contaminations

and twists on these two means are thinkable.

When the in mediasres technique is used in any

particular SF tale, the means o displacement

can be told in a retrospective or they can,

apparently, totally disappear (more easily in a

space/time displacement: our hero is simply a

native o elsewhere/elsewhen). However, this

semblance conceals the presence o displacement

in a zero-orm, usually as a convention tacitly

extrapolated rom earlier stories; the history o

the genre is the missing link that made possible,

or example, tales in another space/time without

any textual reerence to that o the author (as in

most good SF novels o the last 20 years).

...2.3.Specically, the SF uture-storyhas been well identied by RaymondWilliams as the nding and materialization oaormula about society. A particular pattern is

abstracted, rom the sum o social experience,

and a society is created rom this patternthe

uture device (usually only a device, or nearly

always it is obviously contemporary society that

is being written about) removes the ordinary

tension between the selected pattern and normal

observation.03

Clearly, neither is the uture a quantitatively

measurable space nor will the ensemble o

human relationships stand still or one or more

generations in order or a single element (or a

very ew elements) to be extrapolated against

an unchanging background which is the

common invalidating premise o uturological

as well as o openly ctional extrapolation. The

uture is always constituted both by a multiple

crisscrossing o developments and in human

aairs by intentions, desires, and belies rather

than only by quantiable acts. It is Peircesscheme or Williamss pattern rather than theend-point o a line.

Furthermore, anticipating the uture o

human societies and relationships is a pursuit

that shows up the impossibility o using the

orthodoxabsolute or scientistic-philosophy o

natural science as the model or human sciences.

It is a pursuit which shows, rst, that all science

(including natural sciences) is and always has

been a historical category, and second, that

natural or objective and human (cultural)

or subjective sciences are ultimately to be

thought o as a unity: Natural science will in

03 Rm Wm, The Long Revoluion

(Hamndw, ), . .

time include the science o man as the science

o man will include natural science. There will

be one science remarked an acute observer

already in the rst part o the nineteenth

century. 04 As a corollary, the valid SF orm or

subgenre oanticipation tales located in the

historical uture o the authors society should

be strictly dierentiated rom the technocratic

ideology o extrapolation on the one hand and

the literary device o extrapolation on the

other. Extrapolating one eature or possibility o

the authors environment may be a legitimate

literary device o hyperbolization equally in

anticipation-tales, other SF (or example, that

located in space and not in the uture), or indeed

in a number o other genres such as satire.

However, the cognitive value o all SF, including

anticipation-tales, is to be ound in its analogical

reerence to the authors present rather than in

predictions, discrete or global. Science-ctional

cognition is based on an aesthetic hypothesis

akin to the proceedings o satire or pastoral

rather than those o uturology or political

programs.

04 x, Pva P and mmnm,

Wriings o he Young Marx on Philosophy and Sociey,

d. L D. E H. (Gadn , NY,

6), . .

3.2.

Bu a a minimum h incanary us h

num cagry as panain rahr han

rmuain a prm has rmy rjcd. um isas num ds: i ds n suppy jusicain, i dmands

jusicain. This may rmuad as: w nd radicay

iraing nums ny. By radicay iraing I man, as

Marxdid, a quaiy ppsd simp marking dirnc:

a ny ha is in criica ppsiin dgrading

rainships wn pp and, I srngy suspc, in

ri rain mmris a humanizd pas Blochs

Antiquum. Whr is h prgrss prgrssing ?

3.3.Wih his I cm my inrducin h numas h disinguishing hamark SF. Th numis iusy prdicad n h impranc, and pniay

h ncnc, ny and chang, inkd scinc

and prgrss. Prhaps caus h sciaiss and iras

wr cmra wih his, I ha h imprssin n hr

par my hrica has n rcid wih s

it dmur. I nw prcd du i. Is n ny ha

h criica cnsnsus maks m, an inra Isnian

nmy h sid majriy, suspicius: wha ha I dn

wrng i I am praisd in hs quarrs? I is as ha iing

undr Ps-Frdism rings nw insighs: w ar in a whir

chang ha has c-pd scinc, u whr has i g

us?... S i suddny cms in sharpr cus ha chang

wihin n iim grw nrma and mandary ny

wih indusria capiaism and urgis ruins, and

ha appid scinic mass prducin, characrisicay,

rs cam au in h apnic Wars. Tw hundrd yars

ar, w i in an r asr circuain whaBenjamincad das Immerwiedergleiche, h rcurring whirigig

ads ha d n tr human rainships u aw

pprssin and piain cninu wih a nw as

n i: Th prpua rush ny ha characrizs

h mdrn markpac, wih is scaaing prmis

chngica ranscndnc, is machd y h prsisnc

pr-rmd patrns i [...]: a rmarkay dynamic

sciy ha gs nwhr....

Wha i h gra majriy scinic ndings ar day,

aigicay spaking, ak nums? Prdrmind

y h mga-ak num scinc ransusaniad

in capia, ur cnmprary rsin Dsiny, in an

ag whn scinc and chngy is h racing har

crpra capiaism (Noble xxv), hy prduc changs

and innains ha mak r incrasd mark circuain

and pr rahr han r a mr pasura, igh, asui randy ind rwn y caram rahr han aging

swy in ak casks. This is maskd hind uscaing PR;

and wha i much ar is in h sam rac, incrpraing PR

in -immann snsainaism, curicus, and kisch

s in Benjamins ssays h nsin wn Baudelaire

and Brecht? Wha happns making i nw, h at-

cry gra ani-urgis Mdrnism rm Baudelaireand

Rimbaudn, whn h hrrrs wrd-wid wars cm

h ading, -mpyd, and nr-aiing as r

chnscinic and hirarchica mdrnizain sciy

undr incrasing rprssi cnr and cndiining?

3.4.Thus his anaysis has nay arrid a hpin whr hisry, in h guis anagicahisriciy, is und h n and crucia sp in h

undrsanding SF: sry is aways as hisry, and SF

is aways as a crain yp imaginai hisrica a

which cud usuy cmpard and cnrasd h

hisrica n. A h pismgica, idgica, and

narrai impicains and crrais h num ad

h cncusin ha signican SF is in ac a spcicay

rundau way cmmning n h auhrs cci

cn n rsuing in a surprisingy cncr and

sharp-sighd cmmn a ha. En whr SF suggss

smims srngy a figh rm ha cn, his is

an pica iusin and pismgica rick. Th scap

is, in a such signican SF, n a tr anag pin

rm which cmprhnd h human rains arundh auhr. I is an scap rm cnsrici d nrms

in a dirn and arnai imsram, a dic r

hisrica srangmn, and an a as iniia radinss r

nw nrms raiy, r h num dainaing human

hisry. I i ha h criic, in rdr undrsand i

prpry, wi ha ingra scihisrica in rma

knwdg, diachrny in synchrny. Hisry has n ndd

wih h ps-indusria sciy: as Bloch said,Judgment

Day is also Genesis, and Genesis is every day.

cd ac, -8; W W? Hw d W G

H? I T n Wa O?: O, Nw Fm Nvm (-8),

nd n D. v, Defned by a Hollow: Essays on Uopia, Science Fic-

ion, and Poliical Episemology. Od: P. Lang, , 6-6

Novum: History, Change, & Progress?

3.1.The novum as a c reative, andespecially as an aesthetic, categoryis not to be ully or even centrally explained

by such ormal aspects as innovation, surprise,

reshaping, or estrangement, important and

indispensable though these aspects or actors

are. The new is always a historicalcategory since

it is always determined by historical orces

which both bring it about in social practice

(including art) and make or new semantic

meanings that crystallize the novum in human

consciousnesses (see 1.1.and 2.2.). An analysis

o SF is necessarily aced with the question o

why and how was the newness recognizable as

newness at the moment it appeared, what ways

o understanding, horizons, and interests were

implicit in the novum and required or it. The

novelty is sometimes directly but sometimes in

very complex ways (or example, not merely as

reection but also as preguration or negation)

related to such new historical orces and

patterns-in the nal instance, to possibilities o

qualitative discontinuity in the development

o human relationships. An aesthetic novum is

either a translation o historical cognition and

ethics into orm, or (in our age perhaps more

oten) a creation o historical cognition and

ethics as orm. 1979

SF N TH NOVUM; n D. v: Meamorphoses o

Science Ficion, Nw Havn and Lndn Yal Unv

, , 684

...

-g k, The Ses,


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Jumana Emil AbboudBn , Sa-m Lv n Jalm

lng va clal adn, m cldn al, mal

lg g, al ag, lkl and al adn,JmEm Abb c n a wd ang nma b call nvnmna, c a nan wmn n Mddl an

cn, lcal nal nal nc, and l

mc and magcal n cal c. T md mda nallan

a cm dawng, cllag, and cnac n nld Nigh

Journey(2010), and a vd wk O Whale Dons Swallow Our Moon! [Ques

or Spouse] (2011), wk cnga lgmag, alman

and dvnal bjc, dvlng a cc glc val and

mav langag. O Whale Dons Swallow Our Moon! [Ques or

Spouse] a la nd b m akn m Palnan lkl

and aal, m a cldn w n adnal

mla m al cl wl lang cal caac c a

Bd, M, Hmland and Gl (mn)/Gadan.

A girl signs the names o Palestinian wells, springs &

caves, believed by locals to be inhabited by saints &

demons; spirits that are both good & bad, o human,

supernatural and/or animal nature: Ein Flefeh, En al

Araq, Ein al Hadjar, En WadiedDjai, En Haddju, En al

Qasr, En al Lozeh, En edDjoz.

Jm Em Abb, m ,

Nigh Journey,


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Yael BartanaBn , la Lv n mdam & Tl vv

T Jw Rc vm (JR), abld n 2007 bY B,call n 3,300,000 Jw

Pland. Fl bwng m cnga

and agand md al Zn

and wn cn lcal mvmn,

JR nv ac bn v,gadl nc and lg

backgnd, bcm a an nnanal

lda mvmn a anm

, and n c, Mddl a.

glanc, lkng a JR man

and maal, m a B ak gand bl bldng a l j

an c. nd dcl qn

jc w ad

magn n lac? T call n

Jw Pland nn d a nd

cml mmgan , a wll

a cmlc lbal dmcac

nlagd, nw , n da glbal m

njc. Y B, The Jewish

Renaissance Movemen in

Poland,


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THE JEWISH RENAISSANCE MOVEMENT IN POLAND

We want to return!Not to Uganda, not to Argentina or to Madagascar, not even to Palestine.It is Poland that we long for, the land of our fathers and forefathers.

In real-life and in our dreams we continue to have Poland on our minds.We want to see the squares in Warsaw, d and Krakw lled with new

settlements. Next to the cemeteries we will build schools and clinics. We willplant trees and build new roads and bridges.

We wish to heal our mutual trauma once and for all. We believe that we

are fated to live here, to raise families here, die and bury the remains of ourdead here.We are revivifying the early Zionist phantasmagoria. We reach back to

the past to the imagined world of migration, political and geographicaldisplacement, to the disintegration of reality as we knew it in order toshape a new future.

This is the response we propose for these times of crisis, when faithhas been exhausted and old utopias have failed. Optimism is dying out.The promised paradise has been privatized. The Kibbutz apples andwatermelons are no longer as ripe.

We welcome new settlers whose presence shall be the embodiment ofour desire for another history. We shall face many potential futures as weleave behind our safe, familiar, and one-dimensional world.

We direct our appeal not only to Jews. We accept into our ranks all thosefor whom there is no place in their homelands the expelled and thepersecuted. There will be no discrimination in our movement. We shall notask about your life stories, check your residence cards or question yourrefugee status. We shall be strong in our weakness.

Our Polish brothers and sisters! We plan no invasion. Rather we shallarrive like a procession of the ghosts of your old neighbours, the oneshaunting you in your dreams, the neighbours you have never had a chanceto meet. And we shall speak out about all the evil things that have happenedbetween us.

We long to write new pages into a history that never quite tookthe course we wanted. We count on being able to govern our cities, workthe land, and bring up our children in peace and together with you.Welcome us with open arms, as we will welcome you!

With one religion, we cannot listen.With one color, we cannot see.With one culture, we cannot feel.Without you we can't even remember.Join us, and Europe will be stunned!

Jewish Renaissance Movement in PolandRuch ydowskiego Odrodzenia w Polsce

Y B,

The Jewish

Renaissance

Movemen

in Poland,


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Bn , jka Lv n jka

The Monumen o he Memory o he Idea o he Inernaionale (2010) b Nmj vjv an an-mnmn a add mnan cllcv mm, dal and magnan lad vlna

nal. T wk ncn a an nacv nallan cnng val an lcad wn

bn. nanc a n mcancal mcal b nd n a dal. v n andl

mcal b, dc nd Inernaionale, anm nnanal calm. Tg

a nwk mcn, aml and ak nd nca, and n, agl mld bcm

ng and ng, vnall bldng a wl c. mc m w nd n bn

vn backgnd n n w mld. The Inernaionale l gnal cla, and wl

nn-maal mnmn call cv lcal magnan, al magnal

a vlna dc n cnma caalm.

Nmj vjv,

The Monumen o he

Memory o he Idea o he

Inernaionale,

Nemanja Cvijanovi


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Mona Marzouk

zk, The Bride Sripped Bare

By Her Energys Evil, 8, nallan

vw BALTI mp A ,

Gaad

Bn , landa Lv n landa

T bmc, bd m zk The BrideSripped Bare by Her Energys Evil (200-2011) cmbn

lmn ganc m, mlgcal bng, acc

and cnlg, mng dn clal nc and

callngng nn naal and man a

aa n, a wll a ad wad ang

and nknwn. In anmad lm a a

nallan, damlk n n dan, a

ang bd ca, al wal and al gan nc,

lkng lk wad n a , g l-lk d

m nacl, mngl n an. T a an

lav n m n n a blak

lac.


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Tom NicholsonBn , Mlbn Lv n Mlbn

Monumen or he Flooding o Royal Park (200-2011) b

Tm Nc a lng-m jc a ackl amac lgac alan clnalm. Qnng

cnma a, Nc jc an aa cncal acc c n bl a

w n n al ncn bwn bgnal

and nn-bgnal l, wc cld av akn

n an dcn.

T jc a cal lan

alan n. Fm 10 11 R. Bk andW. J. W ld an dn w nnn cngala m Mlbn n. Monumen or he

Flooding o Royal Park dcnc dmnan naav

dn, wl mblcall cng n nardoo,

a lcal lan a Bk and W cnmd dng

nal da n k. T w ndcd

Yanwana ab makng cak m nardoo b ald bv cc aan d, manl

d Bk ana wad bgnal cl and l wad an lanc n . ang lag

qan nccl ad nardoo cad a

and b Bk and W avd da. Wl ng wl ma nardoolan a bnn and avan Nc nk alaclnal a. T da a mnmn and v ac

cmmman mbddd n an mag nardoo

ca cad g al Pak ca

lln a d d.

Tm Nc, am m Monumen or he Flooding o Royal Park, 8


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Bn 6, Sl Lv n Sl

Tw wk b -g n bn add aml lgac ld Wa and amac aan Ka. T qnc

ld wn The Ses (2002) ncld ga lm dcng

Sl a Kan Flm Sd n N Ka, w

aganda lm dcng S Ka a mad; am

c n waa n S Ka, mad anng dng

blga mla vc; and dcng Jn Sc a

bwn w Ka, bl a a lm mad n S Ka. Wl

Sl cncd n N Kan d lk mc ld an

acall , cndng m c n N an n

S, b mla and lm lcan mad n S a alc.

nd all lac dcng nm and a clal

dlgcal nmn, nng l cnald naav n

aganda a cad g nanmn, dcan and

mla.

Chan-Kyong Park

W nc w cl cnc cn lm J g Marooned(199) and Rb Am Coundown (19) Power Passage (200)g back US/USS ld Wa ac ac and am ll-

Sz T Pjc (STP) 1975, jn Sv/US ac g. T

mblc ak US/USS n, a n ac vd a a wca

mla ng and cnlgcal advancmn b w,

lad and lan bwn w Ka, and g

ld Wa a an Kan nnla d aag

m, a cd n nwk ndgnd nnl dg b N

Ka nla S Ka.

-K k

Power Passage, 2004

Courtesy of the artist and P K M Gallery, Seoul


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This publication has been published

on the occasion of

steirischer herbst festival 2011.in collaboration with Gallery NovaNewspapers #26

Publication Editors What, How & for Whom/WHW

Texts The ArtistsDarko SuvinStephenWrightWhat, How & for Whom/WHW

Copy Editor Jane Warrilow

Design Dejan Kri@ WHW

Typography Konductor [Hrvoje ivi]Brioni, Typonine, Plan, Delvard [Nikola urek]

Printed by Tiskara Zagreb

Print run 5000

September 2011

Photographs courtesy of the artists

WHWwould like to thank all the artists,organisers & participants for their

collaboration and patience.

steirischer herbst 201123/09 16/10/2011

Project sponsor

Subsidised byAllianz KulturstiftungCity Office for Culture, Education & Sports of the City of ZagrebDanish Arts CouncilErste Foundationifa Institut fr Auslandsbeziehungen e.V.Korea FoundationNational Foundation for Civil Society Development of Republic of CroatiaMinistry of Culture Republic of Croatia

Wienerberger Ziegel

Utopia as a form is notrepresentation of radicalalternatives, it is rathersimply the imperative toimagine them.Fredric Jameson

, Archaeologies of the Future The Desire Called Utopia & Other Science Fictions

ll m L R, The Damned Dam,

steirischer herbstSackstrae 17

8010 Graz

Austria

t +43 316 823007f +43 316 823007-77

www.steirischerherbst.at

Director Veronica Kaup-Hasler

Managing Director Artemis Vakianis

Curators What, How & for Whom/WHW[Ivet urlin, Ana Devi, Nataa Ili & Sabina Sabolovi]

Curatorial Consultant Visual Arts Anne Faucheret

Production Managers Anne FaucheretRoland Gfrerer

Exhibition Graphic Design Dejan Kri

Communications & MarketingAndreas R. Peternell

Communications & PressHeide Oberegger

Fundraising Christine Conrad-Eybesfeld

Art Education Hannah ErtlMarkus Boxler

InstallationHermann SchapekDieter BerndtWalterSchramel Herbert Rauscher & Shne

ArthandlingMit Loidl oder Co. Graz

Technics Pro Video

Second World has been realised with special support from theCulture Department of the Province of Styria.

Supporters


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