PRESS

Press: Fluxus Fire – Total Art Lighter 1

Interview with DJ Pangburn for VICE Creators, U.S.

VICE Creators (U.S.): Troops in Riot Gear Deliver a Hidden Message in Venice

“Our XXXXismTMC peace-forces are conceived to act everywhere and every time without being announced in advance,” they say. “The [Venice] crowd loved the piece. A lot of people commented that it was one of the best works seen at the Biennale, [and] most of them didn’t know it was guerilla and ‘illegal,’ so to speak.”

Go Bomb Yourself! I Filet Magazine

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On the first day of summer, anti-war artists Toshain/ Makowsky/ Ceeh, performed their work at MOTA, ‘Museum on Tour’, Austria. Their performance was titled : МИР : МИРУ : FRIEDE and mirrored the venerable artistic culture contributed by Wolfgang Amadeus Mozart, Gustav Klimt, Ludwig Wittgenstein and Falco.

Various international artists, ranging from Austria, Germany, Iran, Turkey, Afghanistan, Bulgaria, USA, South Africa, and Russia were invited to present a slogan on the topic of “world peace”. Each statement was printed onto T-shirts which could only be viewed with night vision devices. We got in contact with these Viennese Austrian actionists in order to get a commentary on their project.

Artmagazine: Humor statt Verbissenheit, Interview by Werner Rodlauer

"Aber wir sabotieren uns auch permanent und gerne selbst. Feminismus ist schön
und gut, aber es gibt noch so viele weitereThemen wie Krieg, Politik, Rassismus – man kann sich als Frau doch nicht nur über Feminismus äußern. Das wäre eine Selbstbeschneidung..."

Filet Magazine I Love Sex, Hate Sexism!

Другое прышэсце венскіх арт-анархістак Anna Ceeh і Iv Toshain на менскія выставачныя пляцоўкі адбудзецца сёння на заводзе «Гарызонт» у межах квір-фэсту «Больш, чым ЯНА».

FILET Magazine | Арт-вендетта на 6th Moscow Biennale

«Искусство – Личное. Мы сделали наш guerilla арт-вендеттa перформанс чтобы поднять вопрос о кураторской саморепрезентации, институционной власти, иерархиях и расширить художественные концепты и пространства."

“Einträchtig zu zweit. Künstlerfreundschaften in der österreichischen Gegenwartskunst” – PARNASS 44/ 03-2015

FUCKi̶s̶m̶ Toshain/ Ceeh- Branding:Re-branding - "Ex Direktor der Kunsthalle Wien Gerald Matt posiert vor Poster mit Kunsthallen Direktor Nicolaus Schafhausen und FXXXi̶s̶m̶ T-Shirt, 2015. / Postkarte/Sticker (ed.250),Guerilla Aktion im öffentlichen Raum -verteilt in der Schleifmühlgasse als Teil von Urban Diary-Charim Galerie, im Rahmen von Destination Wien-Kunsthalle Wien, 2015"

“Narziss: Kunsthallendirektor als Posterboy” – Falter 23/ 2015

Wie viel Eitelkeit treibt Kuratoren an? Anna Ceeh und Iv Toshain haben Kunsthallendirektor Nicolaus Schafhausen fotografiert und eine Posteredition als Giweaways produziert. Die Künstlerinnen antworten damit auf die Brandingstrategie der Kunsthalle, dessesn Wappenlogo mit Adler alle Ausstellungswerbungen prägt. Am Plakat trägt Schafhausen nun ein T-Shirt mit dem Logo des Künstlerinnenprojekts und kann kniend auf einer Kirchbank davor betrachtet werden.

FXXXi̶s̶m̶ TC interview on Art Unlimited – Istanbul Turkey! EUREKA curated by Kendell Geers​ at GALERIST. Featuring FXXXi̶s̶m̶, Iv Toshain and Anna Ceeh.

Our interview on Art Unlimited - Istanbul Turkey! EUREKA curated by Kendell Geers​ at GALERIST. Featuring FXXXi̶s̶m̶, Iv Toshain and Anna Ceeh. A big thanks to Eda Berkmen and the fellow artists!

ARTslant: 15 Curators to Watch in 2015

“Art and curatorship can no longer separate, shock, or polarize but is regaining its subversive power to undermine, destroy, and revolutionize from within.”

PRESS REPORTS: PARKFAIR TERMINARTOR

„Verblüffender Effekt: Auf dem offenen Dach des Äußeren Burgtors am Heldenplatz, sonst als Ehrenhalle offiziellen Gedenkveranstaltungen vorbehalten, hängen schwarze Tafelbilder, darunter stehen Namen prominenter Künstler wie Lawrence Weiner, Olaf Nicolai oder Gottfried Helnwein. Erst der Gebrauch eines speziellen Teleskops enthüllt die verborgenen Botschaften“...

“TerminARTor”: Wiener Heldenplatz “sieht schwarz” für den Weltfrieden

Verblüffender Effekt: Auf dem offenen Dach des Äußeren Burgtors am Heldenplatz, sonst als Ehrenhalle offiziellen Gedenkveranstaltungen vorbehalten, hängen schwarze Tafelbilder, darunter stehen Namen prominenter Künstler wie Lawrence Weiner, Olaf Nicolai oder Gottfried Helnwein. Erst der Gebrauch eines speziellen Teleskops enthüllt die verborgenen Botschaften.

2000 “ПРЕЙЪР- PROJECT IN PUBLIC SPACE” NEWSPAPERS AS AN INSERT OF THE JUNE ISSUE OF VICE MAGAZINE

WE HACKED KUNSTHALLE WIEN! GUERRILLA PERFORMANCE ADDRESSED TO NICOLAUS SCHAFHAUSEN

On May 17, two days after Kunsthalle Wien had opened the exhibition „Attention Economy", we responded with our guerilla performance "Attention Economy 2" a public statement addressed to Kunsthalle Wien, which had exploited our artistic concept.

Subverting Vienna by Kurt Kladler

In the last decade, critical performative art has taken a distinct turn: The academic seriousness of the 1990s has been dismissed in favor of a multiplicity of event forms, temporary interventions, web-based channels of distribution, and the appropriation/adaptation of pre-existing formats. Featuring a choice of post and retro attributes, these ideograms light up in the visual sound of the event and the photos, clips, and sound files reproduced through social media.
In the 1970s, “radical chic” (Tom Wolfe) could still be regarded by social elites as fashionable. In the meantime, a new situation has been created through pop culture strategies of appropriation, excessive use of the iconographic elements of every political movement, repurposing of the logos of major corporations or institutions, and the use of the aesthetics adopted by militant organizations (“terrorist chic”).
Radical changes of meaning, superimpositions, the unorthodox use of symbols of power, subversion, and creative forms of protest all became formative influences on the production of art, particularly that of a younger generation of artists such as Anna Ceeh (Russia) and Iv Toshain (Bulgaria) who hail from the former Soviet sphere of influence. The experience that the world of cultural representation is inconsistent and determined by codes of territorializing power has shaped aesthetic processes, which have as their content the dynamics of transition and the shift of attention to margins and thresholds.

Brigitte Huck: Operation Street-Credibility und Kurt Kladler: SUBVERTING VIENNA (German version)

Operation Street Credibility by Brigitte Huck (Vienna)

The poster campaign connects established forms of street art with methods gleaned from the design and advertising industry, while, at the same time, following the conventions and rituals of graffiti, as Toshain and Ceeh use spray cans in the same fashion as their colleagues on the hip hop front. In his graffiti eulogy Kool Killer, Jean Baudrillard wrote, “a linguistic ghetto erupts into the city with graffiti, a kind of riot of signs,“ and that these “signs don’t operate on the basis of force, but on the basis of difference.“

“FEMINi̶s̶m̶”, Toshain / Ceeh say, “looks to the border regions of perception, a potential space for emotional and intellectual reflection. We create spaces where content is always present, but not always perceptible. This is about content that reaches beyond representation/abstraction/performance/installation.“

EYES TOWARDS the DOVE. Contemporary Art & Culture, New York and Beyond! (New York): Anna Ceeh and Iv Toshain on FEMINi̶s̶m̶, Vienna

I recently had an email exchange with Vienna based artists Anna Ceeh and Iv Toshain. Working both individually and collectively they are currently in the midst of an art project/campaign titled FEMINi̶s̶m̶. The project requires and utilizes text/slogans from a series of international artists that are then printed and spray-painted with phosphorescent medium. The posters have been pasted around the city in various locations and quantities. Below is our dialogue.

ArtStars* (Toronto/ Berlin): Conceptual Street Art, its Paste-Ups with a Twist

ArtStars_Prayer It’s an unlikely scene for the city of Vienna – posters saying “I cum on FEMINi̶s̶m̶” and “Love sex, hate sexism!”

These glow-in-the-dark florescent posters are not advertising, rather they are part of a public art project by FEMINi̶s̶m̶ Toshain / Ceeh, a pretty badass art label.

ARTCONNECT BERLIN (Berlin): FEMINi̶s̶m̶ in Vienna, by Anne Nicolai

Can you imagine how it would look to have 4,000 glow-in-the-dark posters up? Well, we think it would look pretty awesome! The Vienna-based art label FEMINi̶s̶m̶ Toshain / Ceeh realised this in Vienna’s 23 districts for their public exhibition called ПРЕЙЪР ( = Bulgarian for ‘Prayer’). Read on for a little more information!

Spraying On The Streets Of Vienna by ArtStars* (Toronto/ Berlin)

As part of an exhibition currently on at the Künstlerhaus Passagegalerie, there are now 4,000 glow-in-the-dark sprayed posters up around Vienna’s 23 districts offering ideas around feminism, as created by the Vienna-based art-label FEMINi̶s̶m̶ Toshain / Ceeh.

Co-curated by Iv Toshain and Anna Ceeh, the controversial exhibition includes new works by Marina Abramovic, Linda Bilda, Siggi Hofer and Olaf Nicolai, among others.

LOCAL SUICIDE (Berlin): Poster Party: FEMINi̶s̶m̶: ПРЕЙЪР in Vienna by Nadja Sayej

The FEMINi̶s̶m̶ art label (which works under several names, including XXXXXi̶s̶m̶TC) in Vienna recently opened a citywide exhibition with 4,000 posters pasted up around Vienna’s 23 districts. The message? To redefine feminism. “We think it is old and rigid,” they say. “And we are not feminists.”

Rather, they are FEMINi̶s̶ts.

Fuck Ideologien—Ein Interview mit Anna und Iv, David Bogner, VICE Alps

Eigentlich hatten wir ja vor, in der Überschrift einen halblustigen Witz mit Adam und Eva zu machen, denn erstens klingt Anna und Iv (das wie das englische Eve ausgesprochen wird) so ähnlich, und zweitens möchten die beiden den Geschlechterkampf in der Form, die wir bis jetzt kennen dekonstruieren und die Karten neu mischen. Seit VALIE EXPORT ist hierzulande keiner Künstlerin der Durchbruch dieser weltweit eingezogenen gläsernen Decke gelungen, die auf Werke mit Muschibezug und theoretischem Konzept dahinter besonders sensibel und folglich undruchlässig reagiert. Dass das nicht an dem von Georg Baselitz eingeworfenen Idiotenargument liegt, demnach Frauen „nicht so gut“ malen, ist dem Teil der Menschheit mit zwei tatsächlich funktionierenden Gehirnhälften natürlich klar.
Also haben wir uns vor einigen Wochen mit Anna Ceeh und Iv Toshain getroffen und ein Interview geführt, das uns rein inhaltlich und auch formal etwas überfordert hat. Deshalb haben wir einfach alles niedergeschrieben und dann immer wieder Antwort-Updates erhalten. Oder Richtigstellungen, ganz wie ihr wollt.