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new publication on the project realised in Venice.
in collaboration with the Emily Harvey Foundation, New York and the financial support of the Hamburg Ministry of Culture and Media, Hamburg 2023
AOHNA. 2017
Nach Jahren der politischen Korruption und des Zusammenbruchs. Griechenland steht am Rande des finanziellen Bankrotts und wird von der europäischen Politik unterworfen.
Während der Dreharbeiten zu meinem Video „RHETORIC-Hill of the PNIX“ über die Meinungsfreiheit, erhob sich vor meinen Augen ein ganzes Volk gegen die politischen Reformen, die die Bevölkerung in die Armut trieben.
After years of political corruption and dysfunction. Greece, on the brink of financial collapse, is subjugated by European politics.
During the filming of my video “Rhetoric-Hill of the PNIX” on freedom of expression, a whole people rises up before my eyes against the political reforms that are pushing the population into poverty.
PNYX 2017
In his video work, which is part of his, project “RHETORIC-HILL OF THE PNYX”, renowned Greek philosopher and Theologian Christos Yannaras (born in Athens in 1935. Professor Emeritus of Philosophy at the Panteion University) gives his point of view from ancient Greek history. The text was deliberately spoken in Greek language, the language closest to the original language, ancient Greek. The language and location of this project are strongly symbolic and so go beyond their place and time. They are intended to remind us of how people all over the world have for centuries been fighting for the freedom of expression.
This project is part of an artistic project in Istanbul.
supported by Goethe Institut Istanbul and Kulturakademie Tarabya
copyright by Youssef Tabti 2017
RHETORIC - Hill of the PNIX bildet den Abschluss von Youssef Tabtis Istanbul- Trilogie, deren ersten beiden Teile der Künstler 2015/2017 im Rahmen einer Künstlerresidenz bei der Kulturakademie Tarabya und mit Hilfe des Goethe Institut Istanbul noch realisieren konnte. Die Video-Installation, die das Thema der Redefreiheit in der Demokratie im Fokus hat, musste Tabti jedoch nach dem Putsch 2016 in der Türkei nach Athen verlegen.
Tabtis Ausgangspunkt ist, die Rhetorik, die sowohl Kunst als auch Wissenschaft ist, in Bezug auf freie Meinungs(un)freiheit historisch zu kontextualisieren und die Bezüge zur Gegenwart aufzuzeigen. Dabei diente Pnix als antike Kulisse, als Geburtsort der Rhetorik, die seitdem eine lange Tradition hat und einige Reden Geschichte geschrieben haben wie Sokrates Verteidigungsrede 399 vor Christus oder Martin Luther Kings Rede vom 28. August 1963 in Washington D.C.
Auf dem historischen Hügel Pnix traf Tabti den griechischen Theologen Christos Yannaras, der mit seinen progressiven Thesen nicht nur in Griechenland umstritten ist, um mit ihm zu reden. Yannaras plädiert dafür, die Redefreiheit und die Demokratie in ihren Ursprüngen zu denken, die für den Theologen nach ihrer Entstehung vor 500 Jahre vor Christus nur 50 Jahre lang wahrhaftig praktiziert wurden. Alles was danach kam, kann für den streitbaren Philosophen nur ein stetiges Bestreben nach Ursprüngen sein, das nicht als vollbracht angesehen werden darf.
Das Gespräch mit Christos Yannaras lässt Youssef Tabti in seine Video-Installation RHETORIC – Hill of the PNIX einfließen. Der psychogeographische Aspekt spielt auch bei dieser Arbeit des Künstlers eine Rolle, in der der Hügel Pnix mit der Steintribüne in einer raumfüllenden detaillierten Skizze dargestellt wird. Doch das Rednerpult, an das einst alle heran durften, dekonstruiert der Künstler in Form von stählernen Metallstäben, die über den Raum verteilt sind. Eine Brechung der Kommunikation nicht nur in der Türkei, wenn es um Meinungsfreiheit geht, sondern weltweit.
Tuncay Kulaoğlu
Waiting for what (Sound Projekt) 2021
In diesen digitalen Raum lade ich Sie ein, per Click von überall aus, dabei zu sein.
Schon seit einigen Jahren denke ich darüber nach, einige Klangcollagen zusammenzustellen, die auf einen einfachen Aufruf hin, angehört werden kann, ohne an einem festen geografischen Raum gebunden zu sein. Das ungewöhnliche Jahr 2021 hat mir ermöglicht einige Autoren*innen, die mich schon lang begleiten, zu vertonen.
Ich empfehle einen Kopfhörer zu benutzen, um eine optimale Soundqualität zu haben.
Dieses Projekt wurde unterstützt durch den Hilfsfonds
»Kultur hält zusammen« der Dorit & Alexander Otto- Stiftung und der
Hamburgischen Kulturstiftung.
OSLO10 Basel-Switzerland
Ein Projekt der Christoph Merian Stiftung. Neuer Kunstraum für zeitgenössische Kunst.
Exhibition on sound and historical documents in the African context
(15.11.14 – 16.1.15)
with Gilles Aubry, Zouheir Atbane, Youssef Tabti, Corsin Fontana
EXHIBITION OPENING 15.11.14 18 p.m.
artist talk & listening session
with Michael Hitbrunner, Corsin Fontana, Michael Fontana, alberto Rainolter, Youssef Tabti and Gilles Aubry 16.11.14 / 16 p.m.
The exhibition presents three contemporary artistic positions dealing
with historical documents in the African context. While approaching
documentation as a performative, collaborative and reflective
exploration of the real, the participating artists simultaneously
deliver critical re-interpretations of dissonant pasts.
...In “SWAKOPMUND, part #II of the project Colonial His-story or SCENE(s) MISSING (2011)”, Youssef Tabti presents the result of his exploration of the German colonial past in Namibia.
For “A Long March through unknown places. Performance in a political context. Algeria-Tunisia-Libya”, he opted for a mode of artistic exploration of Northern-African desertic regions, inspired by the work of Abdelhafid Khatib, a member of the Situationist International, and the psychogeographical Theory Of The Derive.
His installation present photographs from an imaginary 1069 km long walk across Algeria, Tunisia and Libya, emphasizing on the non-documentary nature of his recordings, which are reduced to abstract traces.
...In “SWAKOPMUND, part #II of the project Colonial His-story or SCENE(s) MISSING (2011)”, Youssef Tabti presents the result of his exploration of the German colonial past in Namibia.
For “A Long March through unknown places. Performance in a political context. Algeria-Tunisia-Libya”, he opted for a mode of artistic exploration of Northern-African desertic regions, inspired by the work of Abdelhafid Khatib, a member of the Situationist International, and the psychogeographical Theory Of The Derive.
His installation present photographs from an imaginary 1069 km long walk across Algeria, Tunisia and Libya, emphasizing on the non-documentary nature of his recordings, which are reduced to abstract traces.
Front:
„SWAKOPMUND“
2011Original print on wallpaper 300x400cm, with original photographs printed onto paper mate. On the podest Flags of the German Empire (textil silicon harder)
Background:
„A
Long March trought unknow places“
2012
Maps with Geographic cordinate latitude and longitude and six Color prints (50x50cm) landscape of North Africa with Floor Speakers (Sound from hiking in north Afrika).
(click on a picture to enlarge).
(click on a picture to enlarge).
detail|Gefechtsspange (vergoldet sammelanfertigung) Postkarten Südwestafrika (original um 1900)
Auf den ersten Blick
weniger appellarisch zeigen sich daneben
die Fotografien der Installation A Long March Through Unknown Places (2012), mit Trampelpfaden durch sonst unberührte Natur.
Die Karte und die dazugesetzten Himmelsrichtungen zeigen, dass die nicht zuortbaren Landschaften in
Algerien, Tunesien und Libyen aufgenommen wurden, bei einer Wanderschaft über
Staatgrenzen, die nur auf den Karten wirklich existieren..."
Here's an better overview. Please click on the following link Exhibition Views
A topography of social field
(from Greek τόπος topos, "place", and γράφω graphō, "write")
part #II of the project Colonial His-story or SCENE(s) MISSING
(Click to enlarge images)
Group Show from
Group Show from
10. December 2013 - 12. January 2014
at
Kunsthaus Hamburg
Swakopmund is an example of German colonial architecture. It was founded in 1892 as the main harbour for German South-West Africa, and a sizable part of its population is still German-speaking today.
After Namibian independence in 1990 many street names were changed from their original German, or in some cases, Afrikaans names, to honor (mostly black) Namibians. For example in 1991, then-president of Namibia Sam Nujoma renamed the main street (Kaiser-Wilhelm-Straße) Sam Nujoma Avenue in honor of himself
Further information (see below) project at Stiftung Künstlerdorf Schöppingen 2013
After Namibian independence in 1990 many street names were changed from their original German, or in some cases, Afrikaans names, to honor (mostly black) Namibians. For example in 1991, then-president of Namibia Sam Nujoma renamed the main street (Kaiser-Wilhelm-Straße) Sam Nujoma Avenue in honor of himself
Further information (see below) project at Stiftung Künstlerdorf Schöppingen 2013
A Long March through unknown places.
Performance in a political context. Algeria-Tunisia-Libya
(Die Installation stellt mit verschiedenen Techniken eine Kunstperformance mit politischem Inhalt dar.)
Psychogeography, a subfield of geography, was defined in 1955 by Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."
By definition, psychogeography combines subjective and objective knowledge and studies. Debord struggled to stipulate the finer points of this theoretical paradox, ultimately producing "Theory of the Dérive" in 1958, a document which essentially serves as an instruction manual for the psychogeographic procedure, executed through the act of dérive.
People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is animated. Obstacles were everywhere. And they were all interrelated, maintaining a unified reign of poverty.
The installation includes a replica of a landscape of North Africa (plaster), Maps with Geographic cordinate latitude and longitude, Six Color prints (50x50cm) and Original Recording. Please click on the following link
.
Performance in a political context. Algeria-Tunisia-Libya
(Die Installation stellt mit verschiedenen Techniken eine Kunstperformance mit politischem Inhalt dar.)
Psychogeography, a subfield of geography, was defined in 1955 by Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."
By definition, psychogeography combines subjective and objective knowledge and studies. Debord struggled to stipulate the finer points of this theoretical paradox, ultimately producing "Theory of the Dérive" in 1958, a document which essentially serves as an instruction manual for the psychogeographic procedure, executed through the act of dérive.
People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is animated. Obstacles were everywhere. And they were all interrelated, maintaining a unified reign of poverty.
The installation includes a replica of a landscape of North Africa (plaster), Maps with Geographic cordinate latitude and longitude, Six Color prints (50x50cm) and Original Recording. Please click on the following link
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