Vagabundenkongress 5: asking, we walk.

June 8th, 2014.
Killesberg is the name of the park where Gregor Gog organized the Congress of Vagabunds in 1929. We made a walk towards Killesberg with the guide of Ivonne P. Doderer. It was one of the most interesting experiences during our time in Stuttgart. She was very precise with the stations of the route.
She makes evident how important is to create our own maps.

We began in the Theater Rampe and she made a historical approach to the city of Stuttgart.
It was very important for us that the map was connected since the beginning with history and memory.

She also makes a first reference about the special dimension of the city, absolutely engaged with car industry: Mercedes Benz, Daimmler, Porsche and Bosch factories are here. She made a reference about the clima changes because of this activity, specially about the "industrial snow", an artificial snow that falls in winter.

Ivonne talked about the urban planning and about Stuttgart 21, the social and cultural resistence against a big transformation of the main train station of the city. More info about this, soon.

Das Gerber, a new investment in Stuttgart. How many shopping malls more we need?

Close to the space of the investors is "time of cannibals"...

Tasya Krugovykh needs a rest, in front of Württembergisher Kunstverein Stuttgart, a contemporary art space. We met there our friends Iris Dressler and Hans D. Christ, Directors of this space. It was a pleasure to meet them and to have conversations with them during our time in the city.

In 1984, the sculptor Olaf Metzel made the piece Stammheim, a concrete wreath and the word Stammheim on the wall of the Kunstverein. This word -"a code word for terrorist militancy and police state armament"- was partially overpainted by unknown people. In referencing Stuttgart maximum-security prison, the artist was thematizing the trials againts members of RAF - Red Army Faction.  In 2001, based on the initiative of the Ministry of Finance of Baden Wuttermberg, the sculpture was to be torn down. Only an extensive wave of protests was able to stop the demolitions plans. 

For us was very important that the walk includes a reference about RAF, about rebellion and political violence during the 70`. During the conversations in the Vagabundkongress it was clear that is an experience of the german contemporary history that became tabú. There was not so much curiousity to talk about this. Again, a surprise about the relation that the current kongress with german activism history. 

Andreas Baader, Gudrun Ensslin and Jan Carl Raspe, prisoners in Stammheim. 
On October 27, 1977 was their funeral in Dornhalden Friedhof, Stuttgart.

Then, we decided to go by walk to Dornhalden Friedhof. We were there on June 12.

Dornhaldenfriedhof Entrance.

To erase the traces of RAF's history was (is until today) one of the main objectives of official german memory. Nobody must remember them. The map of the cemetery didn´t give any answer about the position of the graves of Baader, Ensslin and Raspe. Then, we decided to follow our intuition: we went left and closer to the borders of the cemetery. We were sure that the margin was the "normal" spatial position that hegemonical capitalism reserves for these subjectivities. But we didn´t find the place. 

One young boy came walking. We decided to ask him about the grave. He was very friendly with us when we said that we came from Argentina, we were part of the Vagabungkongress in Theater Rampe, and we were making a research connecting social and political violence during the 70' in our country and in Germany. He pointed the place and... it was exactly in front of our last position!!!

It was really hot under the sun but we stayed there for two hours, sharing the energy of the powers that still survive in the rememberings of the social, political and cultural fights against oppression.

What kind of subjectivity is a vagabond? 
How can we define the motion of vagrancy? 
What kind of movements must we develope when the violence of finnancial capitalism
erase our ground, our basement and create a permanent condition of free fall?

Close to the bus stop, I founded this material, trace of a game that contemporary kids use. It seems that violence becomes terrorism when kills persons engaged with capital infraestructure but violence is totally okey if it's part of the virtual entairtenment education of contemporary children, the future "robot commanders". 

Why nobody wanted to talk about RAF in the Vagabundkongress?

Photos: DocAC/2014

Vagabundenkongress4: No soy un cliente

Ich bin nich a Kunde / No soy un cliente / I´m not a client.
Azul Blaseotto + Eduardo Molinari ( La Dársena), performative research, four acts, 2014.

Act 1: Sand Democracies (installation, intervention in public space, 2014)

In the context of a finnancial, post-industrial, extractivist and semiotic global capitalism, we install a mobil dock in Theater Rampe. It will work as a plattform of interaction, thinking and political imagination, together with local actors. Images and ideas that come from this mobil dock will be in movement on the streets of Stuttgart. Soon more!

Photo Sand Table: María Tengarrinha.


Vagabundenkongress3: Mobility & Parasites

Vagabundenkongress, Killesberg, Stuttgart, 1929

Vagabundenkongress, Theater Rampe, Stuttgart, 2014

June 7th, 2014, the Vagabundenkongress was open. During three weeks the programm included lectures, workshops, walks, music, screenings, interventions in public space, meetings, the creation of a newspaper and more. The participants were:

Tanja Krone - Gregoria Gog / Wanja Saatkamp / Azul Blaseotto + Eduardo Molinari / 
Syabonga Mthembu / Justin Time / Ivonne P. Doderer / Klaus Trappmann / 
Taisya Krugovykh + Vasily Bogatov / Andreas Liebmann / Artur van Balen / Aya Tarek / 
Karl Philips / Anna Lipphardt / Tobías Yves Zintel / María Tengarrinha /  Akseli Virtanen / 
Alina Popa + Florin Flueras / Maurizio Lazzarato / John Jordan / Axel Demirovic / Raul Zelik / 
As we are / Ebene 0 / Flanerie. Labor für Gedanke&Gänge / InselGrün / Follow the White Rabbit / Occupy Villa Berg / STAdTISTEN.

On that day Anna Lipphardt, talking about contemporary art scene, introduced the concept of "mobility". The paradox was that she pointed that this motion is more a requirment demanded by art market and academic world than a chance of more freedom for the artists. It seemed that for Anna, the vagabond´s subjectivity began to give signals of its uselessness for the targets of the congress. I talked about the need of new maps engaged with a kind of movement, a way of walk that look for emancipation but also for social justice and inclusion.

Anna Lipphardt, Syabonga Mthembu and Tanja Krone

Taisya Krugovykh, María Tengarrinha, Azul Blaseotto

Later, Akseli Virtanen, from Robin Hood Asset Management Cooperative, an initiative that was defined as a "parasite", sayd they are a "counter investment cooperative of the precariat". "Cynism, depression and detachment from others" became means for their survival. He presented himself as a banker, the main objetive was to ask for our money, as investors, for making more money. Then will be possible that "we" support the projects that aim to change the world.

Akseli Virtanen / Robin Hood Asset Management Cooperative

Coming from Argentina and after neoliberal hegemony during the 90`s, La Dársena and Archivo Caminante don´t believes in parasites, bankers and investors. Only one week after that lecture, the news about the legal sentence of the U.S. Supreme Court  in favor of the hedge funds (NML Capital Ltd. and Aurelius Capital Management) and against Argentina became a special topic of our participation in the Vagabundkongress.

Photos: DocAC/2014, Historical Congress by Tanja Krone.

Eduardo Molinari / Archivo Caminante

Mi foto
Ciudad Autónoma de Buenos Aires, Argentina
Artista visual. Licenciado en Artes Visuales. Docente Investigador en el Departamento de Artes Visuales / Universidad Nacional de las Artes (UNA), Buenos Aires, Argentina. Su obra se compone de dibujos, collages, fotografías, instalaciones, intervenciones en el espacio público y publicaciones. En 2001 funda el Archivo Caminante. Desde 2010 coordina junto a Azul Blaseotto La Dársena, Plataforma de Pensamiento e Interacción Artística / Visual Artist. Professor & Researcher at the Visual Arts Department - National University of Arts, Buenos Aires, Argentina. His work is composed by drawings, collages, photographies, installations, public space interventions and publications. In 2001 he founded the Walking Archiv. Since 2010 coordinates with Azul Blaseotto The Dock, Platform of Thinking and Artistic Interaction. +info: www.plataformaladarsena.blogspot.com Contacto / Contact: archivocaminante013@gmail.com