The Language of Political Agitation in “Red Winter” and “Rolling Classroom” by Rena Rädle


Lina Alvarez Reyes performs speech in front of the Norwegian Parliament. Photo: Rädle & Jeremić.

 

With this text I hope to contribute to the understanding of transformative artistic practices. The works discussed here are “Red Winter” and “Rolling Classroom”1, two connected artistic interventions carried out by Vladan Jeremić and myself in Norway. The relation of art and politics is one of the central issues in our artistic practice and we have gathered substantial experience of how this relation looks like and works in practice. Nevertheless, we are also interested in problematizing it theoretically, so as to generate new impulses for our practice. In my contribution I aim to develop a theoretical framework to discuss the conjunction of politics and art. Both works presented here deal with the language of political agitation, while occupying different places on the “passage” from the artistic to the political field. I will elaborate upon these differences, thus demonstrating under which circumstance artistic language can translate into the language of everyday experience, so that it can contribute to political articulation and practice. In short, the question I will try to answer is: How can artistic practice be transformative beyond the artistic field?

The Language of Political Agitation in “Red Winter” and “Rolling Classroom” by Rena Rädle

Queer Land(ing) – Kinstellations by niilas helander

what grass, what living water of life can give us life,
where can the word be unearthed
the propositions that governs hymn and speech,
the dance, the city and the measuring scales?
– Octavio Paz

Turning to new ways to live out a passion
Going out to find the nearest tree and describe it
Finding a tree at any rate   And describing it
Throwing the description away   Going home
Sitting very still in a chair and having an orgasm
– Inger Christensen

Queer Land(ing) – Kinstellations by niilas helander

SAMTALER SOM BILDER – en tekst om Alt går bra og Pier Paolo Pasolini av Julie Rongved Amundsen

1968 var et begivenhetsrikt år. Det var et år som kom til å prege det samfunnet som oppstod i kjølvannet av det og som har fått en spesiell kulturell status i etterkommernes bevissthet. Ikke bare ble den eksisterende verdensorden snudd på hodet i Paris, både Martin Luther King og Robert F. Kennedy ble skutt og drept, Sovjetunionen invaderte Tsjekkoslovakia og det var krig i Vietnam. En ny verden var i emning, en verden som gang på gang skulle se seg tilbake og aldri slutte å la seg fascinere. SAMTALER SOM BILDER – en tekst om Alt går bra og Pier Paolo Pasolini av Julie Rongved Amundsen

The Grammar and Politics of Commoning – Suzana Milevska

There is a crucial grammatical difference between the words ‘commons’ and ‘commoning’. The grammar clearly distinguishes between the passive commons (noun) and the active commoning (verb or gerund, depending on its use). However, there is much more to it: the differentiation goes far beyond the realm of language niceties, metaphors, and obvious grammatical rules. Most importantly, the difference calls for clarification and reflection on economic and political ramifications when focussing on either of these concepts. The Grammar and Politics of Commoning – Suzana Milevska

Screening Black Code/Code Noir: an interview with Louis Henderson

This is an interview between Prerna Bishnoi (LevArt) and Louis Henderson about his film “Black Code/Code Noir” (20:50 min / HD video / 2015) that was screened at LevArt’s premises on 19th January, 2018, as part of the workshop ‘PARK. “…of the Commons”’.

 

1.
At the beginning of the film screening at LevArt I read out the first paragraph of Fred Moten and Stefano Harney’s poetic text published in E-flux in March 2010 called Debt and Study: http://www.e-flux.com/journal/14/61305/debt-and-study/ Screening Black Code/Code Noir: an interview with Louis Henderson