Merry Christmas, KIASMA!
artist: In this respect, to what extent, do you think, the budget plays a role?
restlessincorporated: No role at all – it’s not about the money, honey!
But not having any at all can be quite problematic.
We were abused last December by
NIFCA [the Nordic Institute for Contemporary Art]
and Kiasma [
during “Institution 2”, which was organized by Jens Hoffmann.
They distribute justice with their public funds.
An Online Conversation between Vasif Kortun and Serkan Ozkaya, 2003
November 7, 2007 HELSINKI, Finland (CNN) - An 18-year-old authorities say shot eight people inside his high school in southern Finland, before turning the gun on himself, has died, police said. The shooting appeared to have been planned out in graphic videos posted on Internet file-sharing site YouTube.
the beginning, we did not have a conscious decision of going to
The woman that presented herself as their chief
curator visited us in the early spring of 2007 and wanted us in the museum
since we always had institutional critique in the background of our projects.
Maareta wanted us to do something she was not able to do on her position of a
chief curator: she wanted us to stir up certain things in this hard-core
institution. We thanked, visited the space in
What followed were several months of hard work, inclusion of more people to help us out with making of the model of our future installation, and working out the conceptual background of the whole project. It was going to be a big installation, with several other artists participating, we would organize lectures, film screenings, public debate, and make a publication with our designers. We wanted everything to be for free and asked Kiasma people to see how that would be possible in the institutional setting. We never charge people for our events and projects.
We still did not understand what was going on since he
promised to create a budget once he received our proposal. At that moment, we
are desperately trying to schedule a meeting with them and go to
Letters to all of them, letter to the director, everybody just ignores our questions. When the time has come for us to travel and meet and discuss the options, Jari-Pekka cancels and says there is no time left to meet. He gives us the budget – it’s 15.000 EUR coming from another institution, from another country: it’s the money we received from Mondriaan. Meaning Kiasma wants to get things for free. Plus they say we already spent 4.000 during our first 5-days visit, although we stayed there for free, ate whatever; but the curators probably had to be paid for their job. We are stunned. Adi has violent dreams about chopping Jari-Pekka’s head off; in her dream, he is dark blond and fat.
More truth came out: Maareta does not work anymore as
a chief curator; she knew this for months and did not tell us, and she is
happily traveling to
It’s Christmas and I am
furious; I bike through
That’s why I have no desire or idea how to translate this raping experience into a nice theoretical reflection on today’s possibilities of institutional critique. Things have already developed in a horrifying direction and there is no sign of possible collective action from the side of the artists. We will be reading each others examples of how some institution, some curator, some director abused some of us. Besides being a nice entry in the archive on the ways late capitalistic art institutions control and censor art, I see their no other value. Activism has been turned into rhetoric and rhetoric is now turned into confession. Not a nice way to start a century.
 Printed in: MJ – Manifesta Journal, journal of contemporary curatorship, N.2, Winter 2003/Spring 2004, Biennials (pp.64)
 “Although I choose the school as target, my motives for the attack are political and much much deeper and therefore I don’t want this to be called only as “school shooting”. Pekka Eric – Auvinen in his Manifesto, http://oddculture.com/2007/11/07/the-pekka-eric-auvinen-manifesto/
Published in: Magazine 3/4, Slovakia, Spring 2008