2023, Alberto Lomas | divergence spaces / convergence spaces
ada understands art as an articulator of spaces for relationships, spaces that are usually public, where she interferes to break the silence that is being imposed on us by various political and economic sectors, who refuse to understand that the social model we are immersed in has inescapable ruptures and contradictions. therefore, as zbigniew preisner rightfully noted, silence is equivalent to compliance, and this is the reason ada’s work manifests in public, and generates noise (sound noise, media noise, etc...). some may argue that it generates conflict. i do not. i affirm that ada looks for the underlying, invisible, hidden conflict and brings it to light, sometimes literally and never in vain. light is an element that is of great importance in her work, and as in “erinnern”, highlights the need not to leave in the dark the forgotten realities from which good conclusions can be drawn, no matter how inconvenient they may be. as in “tick-tock”, we cannot fail to focus on issues that are fundamental to our own survival, even if one tries to distract our attention from them. in this work we can not but appreciate the device of confrontation that ada usually uses with singular clarity. it is in the sense of that confrontation, a sense that just like in legal disputes seeks justice through the comparison of different versions of a reality, therefore it is not a question of using confrontation as a mere strategy of gratuitous provocation. her confrontation seeks spaces of convergence in a paradoxical way: by creating spaces of divergence. it highlights the need for each one of us to be able to choose on the basis of our own individual freedom. ada deeply believes in the other, the other that does not rely on terms such as identity to justify itself. identity tends to fall into reciprocal qualifications that hardly collaborate to generate an open and a fairer reality (“window on utopia”, “news from nowhere”), i sincerely believe that her utopian society is closer to the notion of community postulated by slavoj žižek (1) at the time of the pandemic, more than she perceives it herself. therefore, her collaborations with other artists have become quite frequent, and she doesn’t hesitate to include the police, the judge and even the councilor. her work “transparadox” in cooperation with the artist werner schimpl was denounced by the freedom party in graz, that gave rise to the series “zensur” and “i wasn’t there”. a kind of involuntary collaboration that also happened in a slightly unexpected way in the work she created with her students in the seminar “ liminary writings” i had the honour of directing at bilbaoarte in 2021. the site-specific version of “bang ban” that was developed in collaboration with her students eventually included urban artists and even some girls of roma descent. yet again the police collaborated in a more or less involuntary way. this latest collaboration seems to have been guaranteed because during her stay in the programme “uncertain tomorrow” she also managed to get a significant amount of police patrols involved. besides local photographers, international artists and curators, strangely or consequently the action led to a curious dialogue between the police officers and the artists speculating which of the two collectives worked more and got lower remuneration within the community. ada manages to link these two collectives in an inescapable way. she works with the police in a very precise manner, just as she works with written language, a language to which she gives freedom through irony. although it is obvious, i must point out the polysemy of the word “polis”. in addition to its classical meaning (polis was the essential framework in which greek civilisation - the cradle of western civilisation - devxeloped and expanded until the hellenistic period and roman domination), the word polis refers precisely to the guardians of the prevailing decadent morality. (the word poli is a diminutive of the word policía, which refers both to this security corps (2) and to any citizen who acts as an uncritical guardian of the law). in ada’s work we are once again faced with the classic dichotomy between morality and ethics. taking a deeper look at this perspective, the work “lichttrommel” combines all these aspects to some extent. even the very title of the work initiates a contradiction interplay since the light drum refers to an awareness too burdensome to be faced with directly. as gunter grass in his work to which this installation alludes(3) uses a rhetorical strategy in order to deal with the past and painful reality, from a present that drags with it the conflicts generated (and generators), this reality is approached with different tactics. the most evident is the occupation of one of the most visible spaces in the city with a symbol of a disease that society tries to hide. an object placed on the highest public point of andreas hofer platz. a spot that illuminates the entire area around it, since we cannot overlook the fact that it is placed on a lamppost. once again, literal light. without any strategy of concealing or obscuring the problems that drag society down, ada invites various artists to play (4) in her work, with their own tactics, to develop a common strategy of revealing the symptoms of this disease. turning the installation into a space of reference and intervention. a space from which ada warns us of the risk of remaining inactive or absent in the face of the shrinking space for civil society. as a result, and since we are conscious of the dangers of exceptional measures becoming ordinary, works such as “swing” should not be gratuitous, seeing how power is swaying (5) in the face of our passivity on a path that seems irreversible.
artists in the 21st century must choose between biting their tongue or facing the consequences of their actions by taking a gamble. working with language beyond notions such as beauty means just that: showing up and taking a risk, not in aesthetic operations that conform to a canon marked out by authority but showing the open or badly healed wounds of the paradigm that instead of striving for common good refuses to give up its privileges, thus resulting in the impossibility of being. returning to the notion of “tick tock”, there will be no space to live in, no space to be, no space to exist in: we are in a countdown to which we must react.
1) “i am not being a utopian. i am not appealing to an idealised solidarity among people; on the contrary, the current crisis clearly demonstrates how solidarity and global cooperation acts in the interest of the future of each and every one of us; how it is the only thing that we can do rationally and selfishly. “ https://ctxt.es/es/20200302/firmas/31388/slavoj-zizek-coronavirus-comunismo-capitalismo-globalizacion-economia.htm 2) “ - oh, that useful, that cunning, that strategic word “security” (...) excludes entire populations from any kind of citizenship by pretending to receive it in a mechanism that allows us to live, without doubt, by controlling and monitoring us in order to protect us, if not to punish us”. georges didi-huberman in “passer, quoi qu’il en coûte”. 2017.p. 49. 3) this refers to the novel “the tin drum” published in 1959. it’s a story about a boy named oscar matzerath who lives during the second world war (1939-1945). through oscar’s voice the author deals with different macabre and childish narrations of the events of the second world war accessible thanks to his tin drum. 4) “play is not the name of an act or action, but the name of a framework of action” batenson, g. (1990): mente y espíritu, buenos aires, 1990, pag. 124. 5) to swing. by a synonymous approximation effect, it can acquire the meaning of the word hesitating according to its fourth meaning in the spanish royal academy dictionary. to make fun of a person or to say funny things to someone with a serious tone”.
2023, Tomislav Brajnović | expression of resistance
ada’s work, arising from her strong sensitivity to social anomalies and injustices is committed to dialogue with public. one could say that her practice falls into the category of social design, into the realm of social structure. her form flows from the content, using appropriate media, sound, image, video, text, light, space, objects and installation. she fights for artistic freedom of expression, and enters into confrontation with generally accepted norms, „civic morality“ or the legislative one, which she believes should be changed. the form subtly enters and becomes part of the urban views, at first acting delicately and in a non-aggressive way, but a deeper “reading“ reveals very strong content, which often refers to general places or historic “memory“ that gets activated in a new context. ada’s “lichttrommel” can be “read” on several levels. it becomes a kind of poetic expression of resistance or anxiety, indirectly asking questions that remind us of the „old“ paradigm of contemporary art, which was succinctly defined by roland barthes in his 1967 short essay „the death of the author”. barthes argues that the writer or artist has ceased to be the author because of posing questions for which the ultimate answer or meaning is given not by him, but by the audience, those who read, an answer that comes from its subjective predisposition and foreknowledge. if we examine the meaning of the drum (trommel) a little deeper, we will see that throughout history it has been used for military marches and treks, for communication or to announce important news. the drum was used to gather and attract people‘s attention to important news or events. in this sense, we can say that the drum announces a publication, a statement, a proclamation, rather than a question. we can consider an announcement in this context as an answer, regardless of the content or “accuracy”. i perceive ada’s installation, apart from strongly and directly referring to the growth of nazism (whose seeds or characteristics she recognizes in today’s social context), as the creation or opening of a platform for an artistic response which, we can say, by encroaching on contemporary events necessarily encroaches on the political, leaving the old artistic paradigm of indirect implication.this work points to the need to speak out the truth about society and its orientation loudly and in public, which takes the same direction as oscar has been drumming about loudly. however, it has become extremely important (i would call it a new artistic paradigm) what is being published, the content, the message, whether it offers a solution or an answer, because inarticulate and vague drilling is no longer enough, the danger is greater, less obvious, attacking the premise, perception, subjectivity and spirit. ada senses this orientation of society (according to technocracy, objective optimization, abolition of subjectivity and individuality, standardisation and mediocrity) in her work, „convers(at)ions“. at the same time she is aware that individuals, people with a different perception of things, are the ones who should be the bearers of social change, ritualised, marginalised and excluded from the same society. “lichttrommel” is a marker, a platform like speaker‘s corner in london, a place open to the free expression of personal attitudes and ideas. interestingly, ada did not „go out“ or „surrender“ to the platform, content with the form, the installation, but observed the artists‘ activity in a wider environment that recognize dramatic events in time and generously offer them an acquired, visible space, a red elevated terrace of lights.
Krakowski Teatr Tańca | ŚWIATŁO W SPEKTAKLACH ERYKA MAKOHONA
Ada Kobusiewicz, autorka pracy „La danza de la luz. La iluminación y la danza contemporanea”, nawiązując do Rolanda Barthesa opisuje projektowane przez Eryka Makohona światło w kategoriach punctum, które Barthes charakteryzuje jako ukłucie, jako to, co fascynuje, przyciąga i wyostrza. Przeciwieństwem punctum jest studium, czyli pozbawione emocji odczytanie informacji zawartej w obrazie, warunkowane uczestnictwem w określonej kulturze. Punctum zaś jest kwintesencją subiektywnego obcowania z fotografią, to dostrzeżenie detalu, który porusza odbiorcę i nie pozwala o sobie zapomnieć.
Das Objekt bietet zwar für sich eine Bedeutung an, ist aber auf ein Minimum des formalen Ausdrucks reduziert. Es soll nämlich nicht den Blick auf die gesamte Arbeit verstellen: „BANG BAN“ von Ada Kobusiewicz alias Ada Kada.
Die Künstlerin k.ada möchte mit ihrer Kunst die Gesellschaft wachrütteln. Am Lendplatz weist sie mit der Installation „Tick-Tock“ auf eines der größten Paradoxa unserer Zeit hin.
„Habe den Mut, nicht gemocht zu werden.” Dieses Zitat von Bruce Lee ziert an prominenter Stelle die Webseite der Grazer Installationskünstlerin k.ada. Unauffällig ist sowieso nichts an Ada Kobusiewicz, wie die gebürtige Polin mit bürgerlichem Namen heißt. Sie will gesellschaftliche Diskurse eröffnen und riskiert damit auch, für Projekte wie „Transparadox”, bei dem sie unter anderem öffentlich Cannabis anpflanzte und erntete, zwischendurch einmal verklagt zu werden. Doch davon oder gar von empörten FPÖ-Gemeinderät*innen lässt sich Kobusiewicz nicht einschüchtern.
Ich publiziere hier ein Statement der Künstlerin Ada Kada. Wenn ich betone, daß ich mit einigen ihrer Ansichten nicht übereinstimme, dann besagt das nur, wir haben in etlichen Punkten Dissens. Das heißt nicht, ich würde mich von ihr distanzieren. Ich unterscheide zwischen Argumenten zur Sache und Argumenten zur Person. Ich verzichte auf die Vorstellung, man könne Wahrheiten finden, indem man Widersprüche eliminiert. Ich gehe davon aus, daß es mich ohne Andersdenkende nicht gibt. Es wäre mir unklar, wie ich Erkenntnis gewinnen sollte, wenn ich nur meinen Ansichten folge. Daher veröffentliche ich hier in meiner Dokumentation auch Ansichten, die meinen stellenweise entgegenstehen.
Es ist Zeit, ein richtiges Statement abzugeben und nicht nur über Bullshit zu reden! Liebe Freunde! Liebe Künsler und Künstlerinen! Liebe Antifaschisten und Antifaschistinnen! Wo seid ihr? Wie kann man ruhig sitzen, wenn man weiß, dass 2 Millionen Menschen kein Recht haben, ins Theater zu gehen? Sie haben kein Recht, ein Museum zu besuchen! Kein Recht, ins Kino zu gehen! Kein Recht, ein Schwimmbad zu betreten! Kein Recht, ins Restaurant zu gehen! Kein Recht, ein Buch zu kaufen!
Samstag, 1. Jänner 2022. Womit das Jahr beginnen? Zum Beispiel damit: Ada Kada ist eine Künstlerin, die in Graz einige markante Akzente gesetzt hat. Sie ist Impfpflichtgegnerin. Damit steht sie in einem anderen Lager als ich (mit meinen bisher drei Impfungen). Da derzeit maßgebliche Kreise Österreichs übereingekommen sind, daß es eine Impfflicht geben soll, ist Ada Kada erheblich unter Druck geraten, denn diese Verpflichtung, bei Weigerung mit Strafe belegt, wird höchstwahrscheinlich kommen.
2020 Der Standard | Kobusiewicz-Installation: "Zack, zack, zack" und "Bla, bla, bla" sind verboten by Colette M. Schmidt
Ada Kobusiewicz bestückte Graz mit 102 Tafeln mit irgendwo auf der Welt existierenden oder frei erfundenen Verboten – eine Referenz auf eine Arbeit von Ewa Partum
Wir sollten nicht vergessen, dass die Prozesse der Polarisierung und der Ausgrenzung eine bedeutende Rolle bei der Verwaltung unserer westlichen Gesellschaften spielen und das soziale Handeln der meisten Menschen bestimmen.
Lockdown ... it’s good that it happened. I think it was or still is an exercise, a rehearsal, an opportunity, yes, definitely an opportunity to close the drastic gaps between people. I think that what is now important, and even fundamental, is transparency and action, and above all, radicalism and firmness in every area of our lives.
Art Guerrilla Camp in Banja Luka, BIH, Exhibition in Garnisonsmuseum in Graz, Austria | Project of Igor F. Petkovic