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Marina Gržinić

Dr. Marina Gržinić is philosopher, artist and theoretician. She is professor at the Academy of Fine Arts Vienna. Her latest book is Re-Politicizing art, Theory, Representation and New Media Technology, Academy of Fine Arts, Vienna and Schlebrügge Editor, Vienna 2008. She also published an edited online book on Biopolitics, Necropolitics and De-coloniality (Pavilion, no. 14, 2010). Gržinić has been involved with video art since 1982, she works for 30 years with Aina Smid, she is professor of art history and free-lance editor. Gržinić lives in Ljubljana, works in Ljubljana, Slovenia and Vienna, Austria. Films and texts by Gržinić under:

Emma Hedditch

Emma Hedditch (born 1972, UK) is an artist and writer based in New York. Her work focuses on daily practice, materiality, and distribution of knowledge as political action. She often works collaboratively with other artists and groups, for example The Copenhagen Free University (2001–2008) and Cinenova, a feminist film and video distributor (1999–present). Heavily influenced by politicized conceptual art practices and feminist politics, her work has taken on flexible forms as performances, collectively produced films, fanzines, as well as workshops, screenings, and events. Emma Hedditch was artist in residence for performance at the Munich Art Academy in 2013.

Klub Zwei

Jo Schmeiser und Simone Bader arbeiten seit 1992 als Künstlerinnenkollektiv zu aktuellen gesellschaftspolitischen Themen. Neben der Reflexion medialer Darstellungsweisen geht es ihnen auch um eine egalitäre Zusammenarbeit mit politischen MigrantInnen und das gemeinsame Herstellen kritischer Öffentlichkeiten. Ihre Arbeit zu den Nachwirkungen des Nazismus in der Gegenwart findet sich z.B. in ihren Dokumentarfilmen.

Since 1992 Klub Zwei – Simone Bader and Jo Schmeiser – has been working at the interface of art, film and new media. Our main fields of interest are socio-political issues and how they are portrayed. Our work centres on critiquing dominant modes of representation and developing new ways of presenting them. The potential for social change also lies in its images. Our further interests are critically assessing structures and engaging in egalitarian co-operations among women with different backgrounds, histories and life concepts.

Laila Huber

geb. 1980, studierte Kulturanthropologie und Kulturmanagement in Graz und Neapel/Italien. Ihre Arbeits- und Forschungsschwerpunkte sind partizipative Kunst- und Kulturarbeit, Selbstorganisation, autonome Räume, Stadtforschung sowie Interkulturalität. Ihre Dissertation „Topografie(n) des Möglichen (in) der Stadt Salzburg” wurde im Rahmen des Doktoratskollegs „Kunst und Öffentlichkeit” (2010-2013), am Schwerpunkt Wissenschaft und Kunst /Universität Salzburg und Mozarteum, ausgearbeitet und 2014 abgeschlossen (Publikation in Vorbereitung im transcript Verlag). Von Jan. 2011-Jan. 2014 war sie ehrenamtlich in der Salzburger Kunstinitiative periscope tätig. Und seit Januar 2012 ist sie Mitglied des Salzburger Landeskulturbeirats in den Fachbeiräten „Bildende Kunst“ und „Kulturelle Bildung“. Seit Okt. 2013 ist sie wissenschaftliche Mitarbeiterin am Programmbereich „Zeitgenössische Kunst und Kulturproduktion“ am Kooperationsschwerpunkt Wissenschaft und Kunst (der Paris-Lodron-Universität und Mozarteum Salzburg) – u.a. im Sparkling-Science-Projekt „Making Art – Taking Part! Künstlerische und kulturelle Interventionen zur Herstellung partizipativer Öffentlichkeiten von und mit Jugendlichen“ (

Rosa Reitsamer

Soziologin, arbeitet am Institut für Musiksoziologie an der Universität für Musik und darstellende Kunst Wien. Ihre aktuellen Forschungsschwerpunkte sind an der Schnittstelle von Musik-, Kunst- und Jugendsoziologie sowie der Cultural Studies und Gender Studies angesiedelt. Zuletzt erschienen ihre Monographie „Die Do-it-yourself-Karrieren der DJs. Über die Arbeit in elektronischen Musikszenen“ (transcript 2013), die Anthologie „They Say I‘m Different… Popularmusik, Szenen und ihre AkteurInnen“ (hg. gem. m. W. Fichna, Löcker 2011) und die Artikel „,Born in the Republic of Austria‘. The Invention of Rock Heritage in Austria“ (International Journal for Heritage Studies, 2013) und „Female Pressure: A translocal feminist youth-oriented cultural network“ (Continuum. Journal of Media and Cultural Studies, Vol. 26 (3), 2012).

Elke Zobl

Nach Studien der Bildnerischen Erziehung (im Fach Bildhauerei), Germanistik, Gender Studies und Kunst- und Kulturwissenschaften (Salzburg, Wien und North Carolina), erhielt sie 2004 ihr Doktorat an der Akademie der Bildenden Künste in Wien. Von 2000-2006 forschte sie an der Universität of California San Diego, 2007-2011 war sie Inhaberin eines Herta-Firnbergs Postdoc-Stipendiums am Fachbereich Kommunikationswissenschaft (Universität Salzburg). Seit Mai 2011 ist sie Assistenzprofessorin am Fachbereich Kommunikationswissenschaft und am Schwerpunkt Wissenschaft und Kunst (Programmbereich Contemporary Arts & Cultural Production).

Projekte u.a.: “Young women as creators of new cultural spaces” (FWF-Projekt, 2007-2011) und “Feminist Media Production in Europe” (FWF-Projekt, 2008-2012), “Making Art, Making Media, Making Change” (FWF-Wissenschaftskommunikationsprojekt, 2014-2015)

Forschungsschwerpunkte: Zeitgenössische Kunst- und Kulturproduktion, Cultural Studies, Gender Studies.

2010 wurde sie mit dem Wissenschaftsförderpreis der Stadt Salzburg ausgezeichnet.

“She is a trouble maker! And they have thousands of non-trouble-makers.”

Interview with Marina Gržinić, Emma Hedditch, and Klub Zwei/Jo Schmeiser

At the symposium “Artistic interventions in the context of feminist and migrant self-organisation and collective practices” in November 2013 lectures were held by the artist and theoretician Marina Gržinić, the artist and writer Emma Hedditch, and the artist collective Klub Zwei — Jo Schmeiser and Simone Bader. In the discussion that followed, together with Elke Zobl, Rosa Reitsamer, and Laila Huber they debated questions concerning the role of interventionist practice in their work and in broader feminist and anti-racist struggles, appropriation and equal relations within the arts, and the role of institutions and the creation of counter-spaces and counter-publics.*1 *(1)

To begin with, we would like to discuss the term “artistic intervention”. Could you explain how you see art as an interventionist practice? Is this term a good term to work with, or not?

Emma Hedditch: I think for me what’s interesting to look at is this concrete situation of each time making an artistic work or being invited for a specific situation, and trying to look at what the space you’re in is, for example, this institution. Who comes here and what is it that you propose and what you want to do with inviting us, and the students and how does that fit into your broader program? From that point of view I would say in a sense to respond as an artistic intervention would be to see what we could add or do as a group of people in this moment. What are some of the very apparent, particular, and specific things that are raised at this moment and in the discussion today with the students? What are the most pressing questions? And then try to work with some of those issues. So for me, the artistic intervention is being able to see to some extent the field or the landscape in which you are working and trying to bring something to the discussion and make a kind of a break into the space. But not a break in the sense that it stops or halts the activity in this space, but in the sense that it tries to reexamine what this institution is and what these spaces are. So I have this quite conceptual approach, but this is also the starting point of my thought processes for working.

Klub Zwei/Jo Schmeiser: I find it difficult to define or even to use the term “artistic intervention”. It implies that, as an artist, you would “own” the expertise to act, to suggest changes and should therefore be heard/seen in the public domain. And this is problematic, I feel, especially when collaborating with migrants who are denied such a privileged status in society. Structural differences and how they impact on our thoughts, views, collaborations were a permanent topic of discussion with maiz (Autonomous center for and by Migrant Women): What does it mean to intervene? Then you presume you, yourself, are someone who has the power and the authority to make a certain intervention. Who can intervene? And who can’t? But of course there is something like an artistic way of approaching political issues from a slightly different angle, so that it shifts these issues a little bit and raises new questions. As artists we have a lot of knowledge about images in terms of how they are read by audiences, for example. That is something that we can bring in while maiz brings in knowledge from their political practice. They develop postcolonial/decolonial strategies from a queer feminist perspective and apply them to the Austrian context. They pass on decolonial knowledge to refugees and asylum seekers in their educational work, in German classes, for example. So what results from our collaboration is perhaps a political-artistic intervention, from our point of view.

Marina Gržinić: I will actually take the opportunity and claim this interventional practice, claim in the sense that at the moment that we start to talk about interventional or interventionist practice is actually the moment when I can say that new agencies and new subjectivities are entering what was once the canonical and institutional framework of contemporary art. And here, I mean precisely, for example, new political figures, who are actually immigrants. And if they are not recognized, I actually claim the power of these positions and also the possibilities for art, which was in need of new possibilities. So I would say that the interventionist practice starts also with the demand for self-determination on a double level: one level is the question of what contemporary art can actually do today because it seems that almost no other site stays relevant for relevant questions. That implies social and political bankruptcy. So you don’t talk about these topics in these fields, which would be very necessary, but we actually transpose everything into the field of art. And if this is so, I think it’s very important, because those who are not seen as subjectivities are actually intervening, including myself, because I’m also an immigrant in a certain way although I’m a very privileged one because now I’m a professor, but historically I was just someone from Eastern Europe. I think this is a possibility of self-determination and the new elaboration and determination for contemporary art. So it’s very open and if it’s so open, let’s actually take advantage of this and make a new configuration of what contemporary art can be, and especially, what interventional practices are. Let’s take the power of this, if there is any possibility for art to do something substantially. To finish, as Marie-Hélène Bourcier said: if feminism does not take the questions of race, class, and gender seriously, especially the question of racism, internally, then it is over. I would say if the fine arts do not take these topics seriously, it actually does not have any power in any sense.

Unfortunately, the pdf-version is not able to convert some of the special signs. We apologize for that!

Marina Gržinić  Emma Hedditch  Klub Zwei  Laila Huber  Rosa Reitsamer  Elke Zobl  (2014): “She is a trouble maker! And they have thousands of non-trouble-makers.”.

Interview with Marina Gržinić, Emma Hedditch, and Klub Zwei/Jo Schmeiser

In: p/art/icipate – Kultur aktiv gestalten # 04 ,