Tag Archives: September 11

Text: Fallen Empire / Bond-Fires / Fires of Desire

Fallen Empire

As the fire continues to cling on the roofs of a fallen empire, the charred black smoke lingers. Desperate bodies wander to find scraps to savour and remnants to rescue. Their aged bones are physically unable to rebuild the mythical glory they once relished 40 years ago. The Kingdom has crumbled. It has been ten years since the impending hit – 9/11- the event that created the first crack in the monumental symbol of wealth, power and security, and where we see for the first time, fear and doubt seeping into the human imagination. It was an American dream, a fallen dream, that was once everyone’s dream that we are seeing beginning to shatter. But what is left?

In the dust and ashes of the decade to follow we see sudden shifts in values and visions. We see the election of the first president of colour, a sudden awareness of global warming, a scaling back of industries, the rise of the global south, and in 2008, a major global economic meltdown. A decade following the first meteorite in the shape of an aeroplane to penetrate psyche of a masses, brings to question: what can we now fathom of the world? Can we accept that dust is dust and now we must build anew?

The fires of the forest continue to burn as nature claims its rightful power over humanity; the remaining debris of many human civilizations that came before lie buried in the Earth. Nature prevails over man once again.


Bond-fires

What we see beginning to emerge from the ashes is a new consciousness and awareness of each other in the World and in nature. We see a new generation burning with energy. A generation left to undo, remake and re-imagine a new world that was destroyed by misled visions progress of previous generations. We see an ecological turning and a movement towards traditional forms of pedagogy, craftsmanship and knowledge sharing that was lost in industrialization. But what now that continues to burn are the fires that bring us together.

Around the fire we gather, to keep warm, to provide mutual support for survival. We talk, we share stories, we dream of the past. A new system is emerging one that connects us by Ethernet that creates a model of the human mind and where we search for a collective vision. But there are forces trying to control it. A gripping past of former demons that haunts us.

We believe, we worship the spirit that brings us together, and celebrate the fires that burn within us.


Fires of Desire

Fire is heat and burning. Fires spread. It lies dormant in hotspots within the Earth, waiting to re-emerge again – connected by a network of embers. When a flame is killed, it can still grow strong again in another time and in another place. Fire moves silently – warming, cooling, sparking and burning. It is a fire of desire that lies within all our hearts. It is a desire that moves between us and that links us. There are no words for this desire that grows and burns. It is a desire that emerges and burns when fuelled and brought together collectively.

In a seeming apocalyptic time of immense change in a collapsed economy for culture as conservative governments around the world demolish the welfare state as uprisings emerge across Europe by disenchanted youth mobilized by social media resisting against high rates of unemployment and an astronomical rise in tuition fees, how do we maintain hope? How do we find space for the desire beyond economic concerns and to find new sustainable models of subsistence? Within a globalized community around the world, there is still a desire to create, and that fire will never die despite any economy or government support. How can we now begin to rebuild from the ashes a new world, a new vision of culture? How will it manifest in flames? How can we begin to spark imagination of new possibilities and utopias to question the structures that have crumbled?

Flames spread. They grow and flare up.

We are a collective of individuals from a generation lost of opportunities, lost in a time of great uncertainty, altering weather patterns, economic structural upheaval, social re-organization through digital innovations and change. Fires of desire is a sparking and ignition of an exploration of new platforms and ideas of collective working to find and create our own visions and possibilities in a world of dwindling finances and hopes for the future.

DOXA
2011

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Founded in 2010, DOXA is an international research collective based in London, UK. Through an on-going project called ‘Creative Space’, DOXA facilitates cross-disciplinary dialogue through open discussion events to approach new visions of culture today in light of the economic crisis, globalization and the digital turn. Through the events, DOXA brings together artists, academics, policy makers and industry professionals to explore new ways of developing and sustaining culture and creativity, while address current developments in policy, society and the economy. Doxa (δόξα) is a common belief, as opposed to knowledge; doxa is associated with community, dialogue and truth.

www.doxacollective.org

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Exhibition: September 11

September 11
September 11, 2011–January 9, 2012

MoMA PS1
22-25 Jackson Avenue
Long Island City, NY 11101

http://www.momaps1.org

Since that fall morning in 2001, “September 11” has come to connote a broad swath of feelings and subjects that range from the personal to the national; it has been used to justify political, security, and military decisions the world over, while continuing to weigh upon the landscape of New York and its inhabitants, particularly those directly affected by the attacks. Witnessed by an estimated two billion people, the attacks on the World Trade Center were among the most pictured disasters in history, yet they remain, a decade later, underrepresented in cultural discourse—particularly within the realm of contemporary art.

Responding to these conditions, MoMA PS1 Curator Peter Eleey brings together more than 70 works by 41 artists—many made prior to 9/11—to explore the attacks’ enduring and far-reaching resonance. Eschewing images of the event itself, as well as art made directly in response, the exhibition provides a subjective framework within which to reflect upon the attacks in New York and their aftermath, exploring the ways that they have altered how we see and experience the world in their wake. September 11 opens on the tenth anniversary of the attacks and occupies the entire second floor of the museum, with additional works located elsewhere in the building and in the surrounding neighborhood, including one of Thomas Hirschhorn’s street altars from the late 1990s, which will be installed for the first month of the exhibition on a street corner near MoMA PS1.

Artists in the Exhibition
Diane Arbus, Siah Armajani, Fiona Banner, Luis Camnitzer, Janet Cardiff, John Chamberlain, Sarah Charlesworth, Christo, Jem Cohen, Bruce Conner, Jeremy Deller, Thomas Demand, Shannon Ebner, William Eggleston, Harun Farocki, Lara Favaretto, Jane Freilicher, Maureen Gallace, Felix Gonzalez-Torres, Jens Haaning, Susan Hiller, Roger Hiorns, Thomas Hirschhorn, Alex Katz, Ellsworth Kelly, Barbara Kruger, Mark Lombardi, Mary Lucier, Gordon Matta-Clark, Harold Mendez, Mike Nelson, Cady Noland, Roman Ondák, Yoko Ono and John Lennon, John Pilson, Willem de Rooij, George Segal, Rosemarie Trockel, James Turrell, Stephen Vitiello, and John Williams.

Catalog
September 11 is accompanied by a fully illustrated 248-page catalog designed by Kloepfer-Ramsey and published by MoMA PS1. In addition to Peter Eleey’s curatorial essay, it includes new contributions by Robert Hullot-Kentor and Alexander Dumbadze, as well as texts by Alexander Kluge, W.J.T. Mitchell, and Retort. Distributed by D.A.P./Distributed Art Publishers, Inc., available online and at the ARTBOOK shop at MoMA PS1, +1 (718) 433-1088. ISBN 978-0-9841776-3-9.

Exhibition Support
The exhibition is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, the Teiger Foundation, and The Andy Warhol Foundation for the Visual Arts.

Generous support is provided by The Horace W. Goldsmith Foundation.

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