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Events 2012


Hannes Zebedin
Doubt Continuum

Opening: February 8, 2012, 7 p.m.

What is the effect of adhering to growth in today’s world and how is it negotiated politically and socially? The artworks Access to Information, Ein Wintermärchen, and Melancholie von morgen confronted the issue of growth and its political and social implications through installation and intervention.

In Access to Information reports from the World Bank were stacked on top of each other until the pile reached a height that tilted perilously. Today the World Bank sees its main job as the economic (further) development of less wealthy countries, which primarily happens through the provision of loans bound to certain conditions. The World Bank’s ultimate goal is to promote growth. Information published by the World Bank is an order to the respective countries; it doesn’t serve as a basis for discussion, but an imposed edict. The information becomes the architecture that encloses the country and its people; its volume is intangible, it emanates a danger that people have to live with.

Radiators were turned on and placed in the open windows of the Cabinet – they portrayed a completely social though futile gesture. This piece, Ein Wintermärchen, referred to the current situation in Europe: How are certain situations reacted to economically? Are resources wasted to achieve a seemingly impossible scenario?

For the piece Melancholie von morgen, a snow-covered space in front of the windows was shoveled clear. Using the same snow, the word “Frühling” (spring) was written on the ground. The word disappears as soon as the temperature rises, but it can be covered again with more snow. In addition to describing the season, the word Frühling also has a political dimension. “Are the revolutions of today the melancholy of tomorrow?” The question arises whether revolutions or required changes are pursued after they’ve taken place and whether they even have a chance of surviving long term.

Hannes Zebedin, born 1976 in Lienz, lives and works in Vienna

Photo: Elif Yalcintepe