Anonymous Situationist poster from 1968 student strike in Paris
The problem of language is at the heart of all the struggles between the forces striving to abolish the present alienation and those striving to maintain it. It is inseparable from the very terrain of those struggles.
We live within language as within polluted air. Despite what humorists think, words do not play. Nor do they make love, as Breton thought, except in dreams. Words work — on behalf of the dominant organization of life. Yet they are not completely automated: unfortunately for the theoreticians of information, words are not in themselves “informationist”; they contain forces that can upset the most careful calculations.
Words coexist with power in a relation analogous to that which proletarians (in the modern as well as the classic sense of the term) have with power. Employed by it almost full time, exploited for every sense and nonsense that can be squeezed out of them, they still remain in some sense fundamentally alien to it.
~ From “All the King’s Men”, which originally appeared in Internationale Situationniste #8 (Paris, January 1963). This translation by Ken Knabb is from the Situationist International Anthology (Revised and Expanded Edition, 2006). No copyright.
Melati Suryodarmo (b. in 1969 in Surakarta, Indonesia, lives and works in Braunschweig, Germany) performs EXERGIE – Butter dance, an older piece but shown for the first time at Lilith.
20 blocks of butter in a square on the black dance carpet. Suryodarmo enters the space, dressed in a black tight dress and red high heels. She steps on the pieces of butter. She starts to dance to the sound of Indonesian shamanistic drums. She dances and falls, hitting the floor hard, rising, and continuously being on the verge of standing, slipping and falling in the butter. After twenty minutes Suryodarmo rises one last time, covered in butter, and leaves the space. http://www.melatisuryodarmo.com/
Copyright of the performance: Melati Suryodarmo
Documentation done by Lilith Performance Studio.
Copyright of the documentation belongs to Melati Suryodarmo and Lilith Performance Studio, Malmo, Sweden.
Performances took place 24 – 30 April 2015, presented by Autograph ABP at Rivington Place, London. Presented in two parts, seven evening performances in the gallery followed by a seven-week exhibition, ‘Whip it Good’ retraces the footsteps of colonialism and maps the contemporary reverberations of the triangular slave trade via a series of performances that will result in a body of new ‘action’ paintings.
During each performance, the artist radically transforms the whip – a potent sign and signifier of violence against the enslaved body – into a contemporary painting tool, evoking within both the spectators and the participants the physical and visceral brutality of the transatlantic slave trade. Deep black charcoal is rubbed into the whip, directed at a large-scale white canvas, and – following the artist’s initial ritual – offered to members of the audience to complete the painting.
However, the themes that emerge from Whip It Good trace beyond those of slavery: Ehlers’ actions powerfully disrupt historical relationships between agency and control in the contemporary. The ensuing ‘whipped’ canvases become transformative bearers of the historical legacy of imperial violence, and through a controversial artistic act re-awaken critical debates surrounding gender, race and power within artistic production. What the process generates for the artist, is an intensely focused space in which to make new work as part of a cathartic collaborative process.
Read Chandra Frank’s review of the performance, which also took place in Gallery Momo in South Africa, HERE.
The problem is that white people see racism as conscious hate, when racism is bigger than that. Racism is a complex system of social and political levers and pulleys set up generations ago to continue working on the behalf of whites at other people’s expense, whether whites know/like it or not. Racism is an insidious cultural disease. It is so insidious that it doesn’t care if you are a white person who likes Black people; it’s still going to find a way to infect how you deal with people who don’t look like you.
Yes, racism looks like hate, but hate is just one manifestation. Privilege is another. Access is another. Ignorance is another. Apathy is another, and so on. So while I agree with people who say no one is born racist, it remains a powerful system that we’re immediately born into. It’s like being born into air: you take it in as soon as you breathe.
It’s not a cold that you can get over. There is no anti-racist certification class. It’s a set of socioeconomic traps and cultural values that are fired up every time we interact with the world. It is a thing you have to keep scooping out of the boat of your life to keep from drowning in it. I know it’s hard work, but it’s the price you pay for owning everything.