Video/audio installations: Fia Backström and Sharon Hayes
Video screenings: R.E.P Group, Radek Community, Hito Steyrel, Johanna Billing, Annika Ström, Škart Group, Ligna, Marcelo Exposito, Susanne Burner, Inventory and Henry VIII Wives in collaboration with Horkestar, Vladmarx, BGYSS, WoO, Jelena and Ana
Magazines, books, newspapers, posters, leaflets: Roman Ondak, David Ter Oganyan, R.E.P Group, Annika Ström, Version, Susanne Burner, Sam Durant, Bruno Serralongue, Chto Delat, Phillipe Parreno
++ No More Reality Library
Curated by: Claire Staebler & Jelena Vesić
No More Reality [Crowd and Performance: demonstration, public space, use of body] is a theoretical-practical platform for an ongoing project, which investigates performative aspects of the crowd in the streets and the political implications of body practices in the public space. It’s a mobile exhibition, and a discursive project that gathers a group of artists, activists, theorists, curators, magazines and radio broadcasters. No More Reality is developing in stages starting from 2005. Exhibitions, publications and discussions accompanying this process are conceptualized as fragmentary situations and steps in the research, rather than as the final projects with the fixed and unchangeable conclusions.
For the third step of the No More Reality project curatorial team is opening up their folder of the researchers’ materials, creating the display in the form of small-scale documentation center. Showing the art installations created for the specific site, together with the video and audio records, catalogs, books, posters and leaflets transform the exhibition space into the environment in which the content can be examined and reflected rather than passively consumed. The selection of the artworks presented here also sheds the light to the variety of tools used for different manifestations like slogans, flags, t-shirts, free newspapers and flyers, offering the insight into the aesthetics and vocabulary of the contemporary protest.
4 July – 7 September 2008 at DE APPEL, AMSTERDAM
watch mostly public television, and one of my favorite programs is ‘Secrets of the Dead’. This hour long show combines elements of history, archeology, and forensic research in unraveling the ‘mysteries’ of numerous grim historical events. Several weeks ago, one segment investigated the ‘secret graveyards’ of organized crime, specifically, a location in the borough of Queens, New York. In the final scenes, the skeletal remains of gang members murdered in the early 80’s were unearthed. Through these somber images, I reconnected to my encounter with Chloe Piene’s sculpture, whose exhibition at Gasser & Grunert in Chelsea had closed a few weeks earlier.The human skull, that timeless logo of death, is having an especially good year both in and out of the arts. Here in Manhattan, poor Yorrick advertises a production of Hamlet, while on ‘The Simpsons’ one of Bart’s trio of tormentors at Springfield elementary sports death’s head on a black t shirt. And there’s that Damien Hirst. Hirst, like other art provocateurs periodically gets it exactly right, as did Warhol’s ‘Disaster’ series, which offered up a ‘little death’ during Pop’s euphoric zenith. 
