|Oleg Kireev on Mon, 16 Nov 1998 07:18:07 +0100|
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"Blow Bubbles as avant-garde of economics" Koln's Art Cologne fair is one of the world's largest events aimed to create an isolated zone of art and to turn modern art into the privileged entertainment for corrupt bohemia. The art, which throughout the XX century represented the most progressive and revolutionary part of the intellect, now became one of the specialized fields of capitalist production. The new action of Non-Governmental Control Commission was brought about during one of the central events of the fair, namely the discussion "Art as avant-garde of economics," which was held in KOMED-Saal Meolapart Koln on the 10th of November and in which all ideologists of market art took part . The action was called "Blow Bubbles as avant-garde of economics." Before the beginning of the public discussion the participants NGCC, art historian Sylvia Zasse and artist Silvana Toneva distributed the following flyers in the audience: *Non-Governmental Control Commission. "Blow Bubbles as avant-garde of economics." Non-Governmental Control Commission and the magazine Radek hold an event "Blow Bubbles as avant-garde of economics" which represents our reply to today's discussion where we were not invited, but decided to participate in anyway. Yet several other explanatory cues: capital is the instrument of the power, implemented, for example, by Western Europe towards Eastern Europe; art is a kind of symbolic capital, the possession of which tells about the dominant position of the agents of power (thus the mythology of "art autonomy" spread by the closed cultural events as, e.g. Art Cologne, looks even more outrageous); Non-Governmental Control Commission is a politico-art project founded in the spring 1998 by a group of intellectuals who gathered around Moscow magazine Radek, which organizes political actions and campaigns based on the new sociopolitical technologies." The first speaker was Boris Grois, the German theoretician of Russian descent, who is a vivid example of the "new right" thinking, one of the creators of professional ideology of the art market employees (the flyer was distributed together with the parody on Grois where he speaks about his career in a very infantile language). Soon after his speech began, 10 members of NGCC settled in the audience started blowing bubbles and continued doing so throughout his speech, provoking the obvious panic of the speaker and different reactions in the audience (from sympathizing laughter to nervous aggression *for example the Swiss collector Claudia Jolles tried to pull out the toy device for blow bubbles from the hands of one of the participants. Grois tried to finish the confused reciting of his speech with the unsuccessful improvisation, saying that "bubbles, this is also beautiful." Without waiting for this, the participants got up and walked out of the auditorium, and Silvana handed the flyers as an ultimatum to all members of the presidium (among whom there was the Swiss curator Jean-Cristoff Amman famous for his derogatory statements about lack of any prospect for art outside of Western Europe). Summing up the action, the participants of NGCC state that all the set tasks were implemented, the action was a successful mass-media provocation (the discussion was covered by the leading European art publications and the German TV), and a destructive invasion into the world of corrupted art-establishment. It goes without saying that we view the conceited snobs not as the main culprits and the authors of the system of capitalist politics of corruption (exceptions- they are only some of the unconscious participants and even victims of this system. But every new definition of those sources of power, their naming and exposing is an important step, because to talk about this subject, to make the institutionalized information networks listen to you, pronounce names, direct, find aims*this is a first step to overthrowing the power and mobilizing new forces for a struggle with the existing forms of power (M. Foucault).