Author Archive

“ART VENDETTA” VERSUS 6 th MOSCOW BIENNALE CURATOR

"Art is Personal. We made this Guerrilla Art / Vendetta Performance to question curatorial self-representations, institutional power and hierarchies; extending the established status quo of artistic concept and space."

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."

What´s up with “FUCKi̶s̶m̶ TC“? – Text by Ursula Maria Probst

It looks as though Iv Toshain and Anna Ceeh have always been a step ahead not only because they uncover the hegemonic structures of the art industry and its effects and analyse them but also because the appropriate curatorial practices themselves and use their arti practices to produce a public space for discourse and new audiences.

“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"

PEOPLE ABOUT US

"A pretty badass Art-label" - Nadja Sayej

FXXXXi̶s̶m̶ TOSHAIN / CEEH at Center for Contemporary Arts, Minsk / Belarus

"...За скандальнасць гэтым разам адказвае аўстрыйска-расейска-баўгарскі арт-лэйбл FXXXi̶s̶m̶TC. Ягоныя завадатары Anna Ceeh і Iv Toshain абзываюць сябе post-socialist post activist modular perpetual motion machine і працуюць у сфэрах дыскурса і пэрформанса на мяжы поп-культурнай семантыкі, тэорыі мастацтва, актывізма і contemporary art. Яны крытыкуюць усе ідэалёгіі (-ізмы), прапагандуюць мультыгендарны падыход (няма мужчынскага і жаночага мастацтва, ёсць гуд арт і бэд арт) і заклікаюць вызваліць фемінізм з карсэта бінарнасцяў і супрацьпастаўленняў. У свае правакацыйныя вылазкі з арт-прасторы ў рэальнасць яны ўцягнулі Марыну Абрамовіч, VALIE EXPORT, Slava Mogutin, Olaf Nicolai ды іншых зорак сусветнага мастацтва. Наведвальнікі выставы ў Мінску змогуць безнаказана вынесці з залі газеты з маніхвестам і модным постэрам гэных арт-хуліганак і дакументацыяй іхніх бясчынстваў на вуліцах Вены і іншых мястэчак Еўропы."

“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 TOSHAIN / CEEH: РИТУАЛ – URBAN DIARY – Vienna Extended – Charim Galerie Wien 23.04.-30.06.

FUCKi̶s̶m̶ Toshain / Ceeh counteract the branding concept of the Kunsthalle, as their emblem logo bears all areas of the Viennese art world, with a counter- branding: Nicolaus Schafhausen (curator and director of Kunsthalle Vienna) is stamped, or at least his portrait poster, which now bear the stamp of FXXXi̶s̶m̶ in an edition of 750 pieces. This gesture is only a part of the FXXX performative installation, questioning curatorial self-representation and power,
It refers to a change in the art field, which in the last 15 years has led to a production division of the curatorial, with their own training courses, institutionalized form, media and discussion forums.

The complex relationship between artistic and curatorial autonomy, questions of power and access to resources, as the practices of marketing and branding, which now both sides- artists and curators concern, must be renegotiated."

URBAN DIARY – Vienna Extended – Charim Events 28.04. – 23.05.15

The complex relationship between artistic and curatorial autonomy, questions of power and access to resources, as the practices of marketing and branding, which now both sides - artists and curators concern, must be renegotiated." Kurt Kladler

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!

RED, MY COLOUR IS RED, April 3 @ National Center for Contemporary Arts Moscow, RU

EUREKA Carte Blanche to KENDELL GEERS/ Galerist, Istanbul

Your mind finds inspiration as your body creates, generating works of art that are given limits by your galleries. Your work embodies the limits of your perceptions dictated by moral, spiritual, physical, economic, cultural and political constraints. In the battleground of your body expressing itself as an artist, how would you give expression to an ecstatic state of being that runs naked down the street with the words “Eureka” on your lips ?

The exhibition that I would like to invite you to be part of is conceived as a protest song in which the body is the celebrated.

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.”

FANS – SELFIES

Vienna - Vilnius - Zurich - Moscow - Minsk

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.

PARKFAIR TERMINARTOR

XXXXi̶s̶m̶TC has been invited by the avantgarde art fair PARKFAIR to develop togheter a radical concept and site specific installation that is tailored to this years specific exhibition space - the Hall of Honor (Ehrenhalle) inside the Outer Castle Gate (Äußeres Burgtor) at Vienna’s Heldenplatz.

The guerrilla art performance video, “Attention Economy 2″, a public statement addressed to Kunsthalle Wien, was removed by YouTube on 20th of June ´14, after three weeks online and 5895 views!

Behind the scene: Foto Shooting for “ПРЕЙЪР”-POSTER PROJECT IN PUBLIC SPACE” NEWSPAPER

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

The guerrilla art performance video, “Attention Economy 2″, a public statement addressed to Kunsthalle Wien, was removed by YouTube on 20th of June ´14, after three weeks online and 5895 views!

Our guerrilla art performance video “Attention Economy 2" was removed by YouTube! This not about art anymore, it is about freedom of speech.

Wake up!

AN EDITION OF 2000 “ПРЕЙЪР- PROJECT IN PUBLIC SPACE” NEWSPAPERS IS CURRENTLY DISTRIBUTED IN VIENNA, BASEL AND ZURICH, 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.