berlinische galerie, berlin april 29 – augu

EXHIBITION DOSSIER
ANGELA BULLOCH
INFORMATION, MANIFESTO, RULES AND OTHER LEAKS…
BERLINISCHE GALERIE, BERLIN
APRIL 29 – AUGUST 29, 2011
INFORMATION, MANIFESTO, RULES AND OTHER LEAKS…
BERLINISCHE GALERIE, BERLIN
APRIL 29 – AUGUST 29, 2011
In her works, Angela Bulloch studies the complex operation of rule systems in society.
For the exhibition at Berlinische Galerie, she continues the concept of her Rule Series
in several works, some of which were conceived especially for the exhibition site. The
work group Rules Series, begun in 1992, consists of a continuously growing collection
of rules, regulations, and norms. The Big Mac Index, used to compare the buying power
of a currency, encounters instructions for those visiting London’s Downing Street, the
guidelines of the November Group and the Italian Mafia’s code of honour.Under the
title “Information, Manifesto, Rules and other leaks…”, Angela Bulloch chose ten of
these texts and transformed them with a new design into monumental wall paintings,
DIN A1 prints, and a poster. In direct reference to works from the Berlinische Galerie,
the new layout quotes design elements by El Lissitzky, Hannah Höch, and artists of
the November Group. An additional part of the exhibition shows texts, documents,
and three-dimensional objects that emerged as part of the Rules Series over the past
fifteen years. Angela Bulloch (born in Rainy River, Canada in 1966) studied at London’s
Goldsmiths College from 1985 to 1988. She currently lives and works in Berlin.
Installation views
LIST OF RULES IN EXHIBITION
1) Novembergruppe, 2011
2) Bodyspacemotionthings, 2011
3) Cosa Nostra, 2011
4) Seven Deadly Whims, 1994
5) The International Standard: ISO 216, 2009
6) WikiLeak – Kaupthing Claims, 2011
7) Anarchy, 1994
8) 11 Downing Street, 2011
9) Big Mac Index, 2011
10) Feeling, Exploring and Describing a Fragrance, 2011
The actual work consists of an or more A4 sheets with the Rules text, accompanied
by a certificate. The Rules text can be reproduced in any medium or form by the owner.
Installation view
1) Novembergruppe, 2011
„Novembergruppe“Berlin, im Januar 1919
Geschäftsstelle:
Potsdamer Str. 113
Villa II.
Sehr geehrter Herr!
Unserer jahrelangen Kampfansage ist endlich der Kampf gefolgt. Die politische Umwälzung
hat für uns entschieden.
Maler, Bildhauer, Architekten des neuen Geistes, die Revolution fordert unsere Sammlung!
Wir bitten auch Sie, auf Grund der beiliegenden „Richtlinien“ und „Satzungen“ sich der
„Novembergruppe“ anzuschließen.
Der Zentral-Arbeitsausschuß der „Novembergruppe“
R. Bauer, Bildhauer Belling, B. Hasler, C. Klein, M. Melzer, Architekt Mendelsohn,
Richter-Berlin, M. Pechstein, G. Tappert.
Richtlinien der „Novembergruppe“
I. Die „Novembergruppe“ ist die (deutsche) Vereinigung der radikalen bildenden Künstler.
II. Die „Novembergruppe“ ist kein wirtschaftlicher Schutzverband, kein (bloßer)
Ausstellungsverein.
III. Die „Novembergruppe“ will durch umfassenden Zusammenschluß der gleichgesinnten,
schöpferischen Kräfte maßgeblichen Einfluß auf die Entscheidung aller künstlerischen
Fragen erlangen.
IV. Wir fordern Einfluß und Mitarbeit:
1. bei allen Aufgaben der Baukunst als einer öffentlichen Angelegenheit,
Städtebau – Siedlungswesen – öffentliche Bauten der Verwaltung, der Industrie und
der Volkswohlfahrt – private Bautätigkeit – Denkmalspflege – Beseitigung künstlerisch
wertloser Prunkbauten
2. bei der Neugestaltung der Kunstschulen und ihres Unterrichts,
Aufhebung behördlicher Bevormundung – Wahl der Lehrer durch die Künstlerverbände
und die Studierenden – Aufhebung der Stipendien – Vereinheitlichung der Schulen für
Baukunst, Bildhauerei, Malerei und Schmuckkunst – Einrichtung von Arbeits- und
Versuchsstätten
3. bei der Umwandlung der Museen, Aufhebung der einseitig gefärbten
Sammlertätigkeit – Beseitigung ihrer wissenschaftlichen Überfüllung – Umwandlung der
Volkskunststätten zu vorurteilslosen Vermittlern zeitloser Gesetze
4. bei der Vergebung der Ausstellungsräume, Beseitigung von Vorrechten und
kapitalistischen Einflüssen
5. bei der Kunstgesetzgebung, Soziale Gleichberechtigung der Künstler als geistig
Schaffenden – Schutz des künstlerischen Eigentums – Steuerfreiheit des Kunstwerke
(freie Aus- und Einfuhr).
V. Die „Novembergruppe“ wird durch fortlaufende Veröffentlichungen und eine alljährlich
im November stattfindende Ausstellung ihre Geschlossenheit und ihre Leistungen
beweisen.
Die Organisation der laufenden Veröffentlichungen und Ausstellungen besorgt der
Zentral-Arbeitsausschuß.
Vereinsmitglieder haben Anspruch auf den gleichen Flächenraum und sind juryfrei. Über
Sonderausstellungen entscheidet in gleicher Weise der Zentral-Arbeitsausschuß.
Satzungen der „Novembergruppe“
Name und Sitz
§ 1. Der Verein heißt „Novembergruppe“ und hat seinen Sitz in Berlin. Er wird zur Erlangung
der Rechtsfähigkeit in das Vereinsregister eingetragen.
Zweck
§ 2. Der Verein bezweckt den Zusammenschluß der radikalen, bildenden Künstler; Maler,
Bildhauer, Architekten, zur Vertretung und Förderung ihrer künstlerischen Interessen.
Mitgliedschaft
§ 3. Die Anmeldung von Mitgliedern erfolgt schriftlich durch die Vertrauensleute der Ortsgruppen. Über die Aufnahme entscheidet der Zentral-Arbeitsausschuß mit Zweidrittelstimmen-Mehrheit.
§ 4. Die Höhe des Mitgliedabeitrags bestimmt jährlich die Mitgliederversammlung.
§ 5. Die Mitgliedschaft endet:
a) durch schriftliche Erklärung an den Arbeitsausschuß, mindestens einen Monat
vor Ablauf des Geschäftsjahres
b) durch Ableben,
c) durch Ausschluß. Zum Ausschluß führen Handlungen gegen das Interesse des
Vereins. Den Ausschluß beschließt auf Antrag der Vertrauensmänner der Ortsgruppen
bzw. des Zentral-Arbeitsausschusses die Mitgliederversammlung mit
Zweidrittelstimmen-Mehrheit.
Ortsgruppen
§ 6. Zur Förderung der Vereinsziele werden in den Kunstzentren Ortsgruppen gebildet.
Die Ortsgruppen wählen aus ihrer Mitte bis zu 3 Mitglieder als Vertrauensmänner. Der Zentral-Arbeitsausschuß bestätigt die Wahl.
Vereinsleitung
§ 7. Die Geschäftsführung des Vereins wird von dem Vorstand besorgt, derselbe setzt sich
zusammen aus: Vorsitzenden, Schriftführer, Kassierer. Der Vorsitzende ist der Vorstand im
Sinne des Gesetzes.
§ 8. Die Vertrauensmänner der Ortsgruppen wählen einen Arbeitsausschuß. Der Arbeitsausschuß wählt jährlich aus seiner Mitte den Zentralarbeitsausschuß und den Vorstand. Sitz
des Zentral-Arbeitsausschusses ist Berlin, derselbe vertritt die künstlerischen Interessen der
Vereinigung und überwacht die Geschäfts- und Kassenführung des Vorstandes. Er hat das
Recht, Kommissionen für besondere Zwecke einzusetzen.
§ 9. Die Mitgliederversammlung tagt jährlich am 9.11. Sie wird einberufen zur Entgegen-
nahme des Rechenschaftsberichts und zum Vollzug der satzungsgemäßen Wahlen. Die Mitgliederversammlung ist unter allen Umständen beschlussfähig.
Außerordentliche Mitglieder-Versammlungen können jederzeit nach Bedarf oder auf schriftlichen Antrag von mindestens Eindrittel der Mitglieder durch den Vorstand einberufen werden.
Die Einladung zu den Mitgliederversammlungen erfolgt durch den Vorstand mindestens zwei
Wochen vor dem Zusammentritt. Die Tagesordnung wird mit der Einladung bekanntgegeben. Die Tagesordnung wird durch den Zentral-Arbeitsausschuß im Einvernehmen mit dem
Arbeitsausschuß festgesetzt.
Änderung der Satzungen
§ 10. Die Satzungen können auf Antrag des Arbeitsausschusses abgeändert werden. Die
Änderung muß von Zweidrittel der in der Mitgliederversammlung abgegebenen Stimmen
gebilligt werden.
Auflösung
§ 11. Über die Auflösung des Vereins und die Verwendung des Vereinsvermögens beschließt
die Mitgliederversammlung mit Zweidrittelstimmen-Mehrheit.
Geschäftsjahr
§ 12. Das Geschäftsjahr des Vereins läuft vom 9. November des einen bis zum 8. November
des anderen Jahres.
Berlin, den 16. Dezember 1918
Novembergruppe, 2011
Novembergruppe, 2011
2) Bodyspacemotionthings, 2011
‘BODYSPACEMOTIONTHINGS’
ROBERT MORRIS
– Children under 12 must be accompanied by an adult
– Sensible footwear must be worn
– Please do not run inside the installation
– Please follow instructions issued by the Gallery Assistants
– Please deposit your belongings in the cloakroom
– Visitors under the influence of drugs or alcohol are not allowed to participate in this installation
–
–
–
–
–
Whilst all precautions have been taken by Tate, visitors interact with this installation at their own risk
Tate Modern perfects the art of living dangerously
Revived 70s show leaves 23 with minor injuries despite health and safety makeover of Bodyspacemotionthings
• Ben Quinn
• guardian.co.uk, Sunday 12 July 2009 19.39 BST
It was a sensation in the 70s when the Tate was forced to close a new exhibit, just four days after it was opened,
when it was almost wrecked by an overly exuberant public.
Nearly 40 years on, Robert Morris’s Bodyspacemotionthings has lost none of its potential for danger after clocking
up a string of casualties during a special reappearance at Tate Modern this summer. The artwork, in which
participants are invited to negotiate see-saws, a tightrope and other obstacles, left 23 people needing first aid in
just over week.
According to records released under the Freedom of Information Act, the injured included a two-year-old girl who
was taken to hospital after banging her head, and two boys aged 11 and seven who were taken to hospital with
a crushed finger and grazed forehead in separate incidents involving the installation.
Other injuries included a cut leg, a rope burn to the hand, bruised ribs, and a bruised shoulder.
The injuries occurred despite a stringent application of 21st century health and safety procedures by the Tate.
Records show that the gallery’s health and safety officer ordered a series of measures to reduce risks associated
with the installation, such as installing stop blocks to prevent participants getting their feet trapped on see-saws
and restricting moving cylinders with sandbags.
The gallery also decided that a rope which users were meant to swing from could be retained as a “sculptural
element” but not used and that a ball beneath it could be pushed around by visitors but had to be retained within
a sandbag perimeter.
It is not the first time that an art installation in the Tate’s Turbine Hall has proved to be detrimental to the health of
visitors. In the first four weeks after its opening, two years ago, 15 people were hurt while viewing Doris Salcedo’s
Shibboleth, a giant crack cut into the floor of the hall. The Tate’s insurers are handling two compensation claims
arising from injuries caused in 2006, when the public was invited to enjoy giant slides conceived by the German
artist Carsten Höller.
Bodyspacemotionthings was commissioned for a four-day event over the late May bank holiday weekend but ran
for an extra two weeks due to popular demand and was eventually seen by 340,000 people. Its components have
now been recycled. A Tate spokeswoman said it was now „extremely experienced“ at staging large interactive art
installations to today‘s safety standards.
She said Bodyspacemotionthings was fully tested before it opened and procedures were put in place to ensure all
visitors were informed regarding their personal health and safety before participating. „Recreating this installation
represents a landmark in Tate‘s history of exhibition making,“ she added. „By restaging the exhibition it allowed the
public to experience a seminal art work, as well as providing an opportunity for us to reflect upon the institution‘s
history and role today. Robert Morris was fully involved with recreating this work and was delighted to see it
brought back to life and experienced by a new audience.“
BODYSPACEMOTIONTHINGS, 2011
BODYSPACEMOTIONTHINGS, 2011
The actual work consists of an A4 sheet with the Rules
text, accompanied by a certificate. The Rules text can be
reproduced in any medium or form by the owner.
Variable
3) Cosa Nostra, 2011
Cosa Nostra.
I swear to be faithful to ‘Cosa Nostra’. If I should betray it may my flesh burn like this image is burning.
DUTIES AND RIGHTS
You may not introduce yourself to a friend of ours, if it is not a third friend who introduces you.
You may not look at a friend’s wife.
You may not have communion with the cops
You may not patronize bars and canteens.
You must at any moment be available for cosa nostra, even when your wife is having a baby.
You must be absolutely punctual
You must respect your wife
When you are questioned (by us) you must always tell the truth
You may not take money belonging to another of us or to other families
The following may not become members of cosa nostra
Those who have a close relative in any police corp.
Those who have sentimental betrayals in their family
Those who behave unsemingly and those who have no moral values
Cosa Nostra, 2011
4) Seven Deadly Whims, 1994
The Seven Deadly Whims
of Gloria Swanson, during the roaring twenties.
New lips to kiss.
Freedom from conventions.
A new world for woman.
No more chaperons.
Life with a kick in it.
The single moral standard.
Our own latchkeys.
The Seven Deadly Whims Of Gloria Swanson, During The Roaring
Twenties, 1994
5) The International Standard: ISO 216, 2009
The international standard: ISO 216
The international paper size standard, ISO 216, is based on the German DIN 476 standard for paper sizes.
ISO paper sizes are all based on a single aspect ratio of square root of 2, or approximately 1:1.4142. The base
format is a sheet of paper measuring 1 m2 in area (A0 paper size). Successive paper sizes in the series A1, A2,
A3, and so forth, are defined by halving the preceding paper size. The most frequently used paper size is A4
(210 x 297 mm).
The main advantage of this system is its scaling: if a sheet with an aspect ratio of √2 is divided into two equal
halves parallel to its shortest sides, then the halves will again have an aspect ratio of √2. Folded brochures of
any size can be made by using sheets of the next larger size, e.g. A4 sheets are folded to make A5 brochures.
The system allows scaling without loss of image quality from one size to another – as provided by office
photocopiers, e.g. enlarging A4 to A3 or reducing A3 to A4. Similarly, two sheets of A4 can be scaled down and
fit exactly 1 sheet without any cut-off or margins. Weights are easy to calculate as well: a standard A4 sheet
made from 80 grams/m2 paper weighs 5 grams (as it is one 16th of an A0 page, measur¬ing 1 m2), allowing
one to easily compute the weight – and associated postage rate – by counting the number of sheets used.
The advantages of basing a paper size upon an aspect ratio of √2 were already noted in 1786 by the German
scientist Georg Christoph Lichtenberg (in a letter to Johann Beckmann). Early in the twentieth century, Dr Walter
Porstmann turned Lichtenberg‘s idea into a proper system of different paper sizes. Porstmann‘s system was
introduced as a DIN standard (DIN 476) in Germany in 1922, replacing a vast variety of other paper formats.
Even today the paper sizes are called “DIN A4” in everyday use in Germany.
The DIN 476 standard spread quickly to other countries, and before the outbreak of World War II it had been
adopted by the following countries:
Belgium (1924), Netherlands (1925), Norway (1926), Finland (1927), Switzerland (1929), Sweden (1930), Soviet
Union (1934), Hungary (1938) Italy (1939).
During the war it was adopted by Uruguay (1942), Argentina (1943) and Brazil (1943); and afterwards spread to
other countries:
Spain (1947), Austria (1948), Romania (1949), Japan (1951), Denmark (1953), Czechoslovakia (1953), Iran
(1948), Israel (1954), Portugal (1954), Yugoslavia (1956), India (1957), Poland (1957), United Kingdom (1959),
Ireland (1959), Venezuela (1962), New Zealand (1963), Iceland (1964), Mexico (1965), South Africa (1966),
France (1967), Peru (1967), Turkey (1967), Chile (1968), Greece (1970), Rhodesia (1970), Singapore (1970),
Bangladesh (1972), Thailand (1973), Barbados (1973), Australia (1974), Ecuador (1974), Colombia (1975),
Kuwait (1975).
By 1975 so many countries were using the German system that it was established as an ISO standard, as
well as the official United Nations document format. By 1977 A4 was the standard letter format in 88 of 148
countries. Today the standard has been adopted by all countries in the world except the United States and
Canada. In Mexico, Colombia, Vene¬zuela, Chile and the Philippines the US letter format is still in common use,
despite their official adoption of the ISO standard.
In addition to the A series, there is a less common B series. The area of B series sheets is the geometric mean
of successive A series sheets. So, B1 is between A0 and A1 in size, with an area of 0.71 m2 (√0.5). As a result,
B0 has two sides 1 metre long, and other sizes in the B series have two sides that are half, a quarter or an
eighth etc of a metre. While less common in office use, it is used for a variety of special situations. Many posters
use B-series paper or a close approximation, such as 50 cm x 70 cm; B5 is a relatively common choice for
books. The B series is also used for envelopes and passports.
The C series is used only for envelopes and is defined in ISO 269. The area of C series sheets is the geometric
mean of the areas of the A and B series sheets of the same number; for instance, the area of a C4 sheet is
the geometric mean of the areas of an A4 sheet and a B4 sheet. This means that C4 is slightly larger than A4,
and B4 slightly larger than C4. The practical usage of this is that a letter written on A4 paper fits inside a C4
envelope, and a C4 envelope fits inside a B4 envelope.
The international Standard: ISO 216, 2009 (Detail)
The international Standard: ISO 216, 2009 (Detail)
6) WikiLeak – Kaupthing Claims, 2011
Key Points
In summary, and leaving aside the question of Iceland´s legal obligation in this matter, this is what Iceland
proposes:
-Iceland will ensure that the full amount expended by the United Kingdom and the Netherlands to pay Icesave
depositors in each of those countries (up to the EUR 20,887 minimum provided for in accordance with the EU
Deposit Guarantee Scheme) is recovered by the Governments of those two countries. -Iceland will, in addition,
reimburse the United Kingdom and the Netherlands for the reasonable time value of the funds expended for
this purpose until recovered by those Governments. We think it unwise, however, to encourage the perception
that this arrangement would, in effect, return a profit to the Governments of the United Kingdom and the
Netherlands for the monies expended to repay depositors in those countries at the expense of the Icelandic
taxpayer. The last communication from the British and Dutch negotiators proposed that Iceland pay a margin
(in effect, a profit element) of 2.75 percentage points above the cost of the funds expended for this purpose for
the last four years of the six-year loan. To set this in context, the current cost of funds for pounds sterling (for a
six month LIBOR deposit) is approximately 0.9% per annum. The proposal put forward by the British and Dutch
negotiators on February 19, 2010 -- purportedly as their „final and best“ offer -- sought a margin of 2.75% on
top of the cost of funds rate. In other words, that proposal sought to recover a profit component of more than
three times the current base rate. Taking into account the concession of a two-year interest holiday in years
2009 and 2010 (which we estimate will represent approximately ISK 20 billion cost to the United Kingdom and
the Netherlands (based on prevailing LIBOR/Eurobor rates)), just the 2.75% margin element until the loan is fully
repaid in accordance with your proposal would, we estimate, add ISK 110 billion to the total bill. The net profit
to the United Kingdom and the Netherlands under that proposal is therefore approximately ISK 90 billion. And
to set these figures in context, the additional return to the taxpayers of the United Kingdom and the Netherlands
equates to a further contribution of approximately ISK 280,000 from each citizen of Iceland (equivalent to
approximately EUR 1,600). In the resolution of this regrettable affair, we believe that all three Governments
should be seen as acting with restraint and balance.
**********
* Structure: TIF Loan Agreement
Bullet maturity -- June 5, 2016
* Outstanding balance of loan to accrue interest, commencing January 1, 2012,
at the following per annum rates:
2012 2.50%
2013 2.75%
2014 3.00%
2015 3.25%
http://wikileaks.org/file/icesave2.pdf
2016 (until June 5) 3.50%
* On June 5, 2016, the entire outstanding balance of the loan (remaining principal plus accrued interest)
will become the “Shortfall” covered by the Shortfall Indemnity Agreement (in the form previously supplied).
Iceland would be prepared to prepay in cash the full anticipated amount of interest, discounted at an
appropriate rate.
Goldman Sachs International 1.050.919.028 kr.
Commerzbank AG 137.629.003 ISK
HSH Nordbank AG 3.841.481.980 kr.
Barclays Bank Plc 11.938.757 kr.
Stafir Lífeyrissjóður ISK 16.657.702
Volker Zumbusch 120.619 kr.
Sigrún Guðmundsdóttir 8.531.979
ISKSociété Générale 144.519.632 ISK
Eurolandcom AB (publ.) 467.075 kr.
Wolfgang Marshall 40.526 kr.
Bernd Stahn 13.675 kr.
Katja Jesberger 174.241 kr.
Hans-Rainer Mannhaupt 144.358 kr.
Kurt Ruf 171.205 kr.
Andrich Jens 7.554 kr.
Bernhard Kreilinger 107.999 kr.
Sebastian Bähr 49.936 kr.
Thomas Witte 29.189 kr.
Tanja Ott 9.604 kr.
Olga Kaufmann 14.053 kr.
Heiko Heddergott 130.194 kr.
Andreas Buttner 16.011 kr.
Vita Schenker 64.739 kr.
Manuela Kramer 36.755 kr.
Thomas Flöttmann 51.183 kr.
Willibald Geuss 24.171 kr.J
urgen Weckesser 86.774 kr.
Markus Zimmer 135.431 kr.
Gerald Daller 50.769 kr.
Peter Karl Bauer 258.499 kr.
Annette Franz 39.769 kr.
Wilja Silligmuller 64.966 kr.
Marie Silligmuller 83.826 kr.
Jörn-Dietrich Bongert 1.405 kr.
Uwe Silligmuller 85.399 kr.
Dmitry Lakhin 70.791 kr.
Harald F. Austmeyer 69.328 kr.
Gerhard Schwab 144.692 kr.
Heike Götzke 22.716 kr.
Marco Kramer 93.674 kr.
Simon Werner 55.277 kr.
Jörg Baumann 21.831 kr.
Frieda Seidl 178.947 kr.
Katrin Baumgart 103.376 kr.
Andreas Scholl-Staus 120.688 kr.
Christian Rothlander 8.923.329 ISK
Michael j. Kolodziej 186.519 kr.
Marina Schneider 97.209 kr.
Soheila Erens 100.708 kr.
Roland Meissner 32.958 kr.
Helmut Decker 96.968 kr.
Kurt Küchler 2.462 kr.
Andy Braatz 491 kr.
Seeck 109.483 kr.
Inna Milutina 115.708 kr.
Helmut Kleinmann 186.248 kr.
Norbert Stankewitz 22.095 kr.
Hans-Jürgen Rohm 88.489 kr.
Dieter Rudiger Kunz 172.571 kr.
Walter Hubl 27.978 kr.
Jozef Simara 28.647 kr.
Franziska Kraemer 29.189 kr.
Holger Barth 35.054 kr.
Sablue Herzbruch 97.392 kr.
Hartwig Fries 62.825 kr.
Mr. Bernd Gottschalk 125.438 kr.
Rainer Deckers 19.402 kr.
Bastian Rode 123.135 kr.
Peter Kunkel 361.597 kr.
Karstein Mickein 228.846 kr.
Gerd Untiedt 197.749 kr.
Stefan Ulses 22.200 kr.
Else Herta Schafer 45.865 kr.
Babett Strelow 39.288 kr.
Christoph Kraus 99.172 kr.
Silke Richter 53.397 kr.
OHSF Funding II S.a.r.l. 134.893.811 ISK
Dagbjartur Einarsson 8.190.700 ISK
Oak Hill C.A.M.F. L.P. ISK 58.188.100
Strategic Credit fund S.a.r.l. 315.626.699 ISK
Knattspyrnusamband Íslands ISK 6.000.000
The Bank of Tokyo-Mitsubishi UFJ, Ltd. ISK 734.638.408
Raiffeisen Zentralbank Österreich AG 8.915.839.104 kr.
Raiffeisen-Leasing Anlagen und KFZ Vermietungs GmbH ISK 282.285.946
Credit Opportunities European Funding S.a.r.l 1.304.590.360 kr.
Strategic Credit Funding S.a.r.l 2.194.356.208 kr.
John Hancock II Strategic Bond Fund 175.601.042 kr.
General Conference of Seventh-Day Adventists 239.845.287 kr.
Lin Li Chuan 13.484.370 kr.
K.K. Weenen 7.209.198 kr.
Fuhrton Holdings GMBH 13.484.370 kr.
Lin Chun Ping 13.484.370 kr.
Drs. H.A.C.M. van Boxtel Beheer BV 5.517.167 kr.
Time Castle Investments Limited. 35.723.216 kr.
OHA Strategic Credit Fund (paraIIel I), L.P. 36.242.554 kr.
Þ.b. Baugs Group hf. 113 8.660.575.262 kr.
FRS Belgium N.V. ISK 1.447.067
ABN Amno Bank N.V. London Branch ISK 1.052.162.176.
Atlas Renten Global II 108.722.978 kr.
Atlas Renten Global II 108.722.978 kr.
General Conference Corporation of SDA 177.221.379 ISK.
Sparisjóðabanki Íslands hf. 11.382.638.889 kr.
Tata Consultancy Services Ltd. 6.715.735,17 kr.
Banco Inbursa 3.662.550.312,5 ISK
Khemchand G. Manglani & Veena Manglani 7.132.805 ISK
Stafir Lífeyrissjóður 24.408.297 ISK
Lífeyrissjóður Starfsmanna Búnaðarbanka Íslands ISK 3.156.000
WikiLeak - Kaupthing Claims, 2011
7) Anarchy, 1994
Anarchy
Proudhon:
Epictetus:
Rabelais:
Lao Tzu:
‘Property is theft.’ …. ‘Anarchy is order.’
‘Do not wish to be a general, or a senator, or a consul, but to be free.’
‘Do what you will.’
‘…the more laws and restrictions there are, the poorer the people become.
The sharper men’s weapons, the more trouble in the land. The more ingenious
and clever men there are the more strange things happen. The more rules and regulations, the more thieves and robbers.’
Jefferson: ‘…that government is best that governs least.’
Thoreau: ‘…that government is best that doesn’t govern at all.’
National Forum: ‘…be ready to challenge values or actions which may be harmful to individuals
or communities.’
Walt Whitman admired Thoreau for his –
‘…lawlessness – his dissent – his going his absolute own road, hell blaze all it chooses.’
Wilde:
‘Disobedience, in the eyes of anyone who has read history, is man’s original virtue.
It is through disobedience that progress has been made, through disobedience and rebellion.’
Unabomber:
‘Some anarchists have used bombs, but would rather remain unheard than kill people
to gain attention. The vast majority of murderous fanatics are authoritarians.’
Morris:
‘…a society which does not know the meaning of the words rich and poor, or the rights
of property or law.’
Bakunin:
‘The urge for destruction is a creative urge.’
Olaf:
‘I will not kiss your fucking flag.’ — ‘there is some shit I will not eat.’
Meltzer:
‘…vehemently opposed to the re-packaging and marketing of anarchism as a broad church
for the academia-orientated quietists and single-issue pressure groups.’
Blair:
‘If voting changed anything, they’d make it illegal,’…‘Whoever you vote for the government
always gets elected.’
Anarchy, 2011
8) 11 Downing Street, 2011
11 Downing Street
Whitehall
London SW1A 2AB
Information For Visits To Downing Street
As you will appreciate, there are security procedures at Downing Street to protect those who live and work here
as well as our guests. We would, therefore be grateful for your co-operation with the following:
(a) On arrival at the gates of Downing Street, the police office on duty will ask to see your invitation/admit card.
The invitation card is not transferable. If you lose your invitation card please inform Pauline North immediately
on 0207 270 5445. In addition to the invitation card, you will need to produce photographic verification of
identity – eg passport or driving licence, at the Downing Street barrier to gain admittance. If you do not bring
additional identification you will not be able to gain entry to the event.
(b) All visitors will be subject to an entry search on arrival, which consists of a metal detector archway and an
x-ray scanner similar to those found at airports. Please DO NOT bring unnecessary hand baggage as this will
inevitably cause delays.
(c) Cameras and mobile phones MUST be left with the custodian in the front lobby of No.11 Photography is NOT
permitted inside the house although guests can take pictures in the street outside the front door, depending on
how busy it is. Mobile phones are also strictly prohibited inside the House and must be switched off once you are
inside the gates of Downing Street.
(d) Vehicle access to and parking in Downing Street is only permitted for disabled guests and by prior arrangement
with NO. 11.
We hope you enjoy you visit here and we look forward to seeing you.
THANK YOU
11 Downing Street, 2011
9) Big Mac Index, 2011
Big Mac Index
A reference point to determine the cost of living in different countries.
For example, using figures in July 2008:[4]
1. the price of a Big Mac was $3.57 in the United States (Varies by store)
2. the price of a Big Mac was £2.29 in the United Kingdom (Britain) (Varies by region)
3. the implied purchasing power parity was $1.56 to £1, that is $3.57/£2.29 = 1.56
4. this compares with an actual exchange rate of $2.00 to £1 at the time.
5. [(2.00-1.56)/1.56]*100= +28%
6. the pound was thus overvalued against the dollar by 28%
two all beef patties,
special sauce,
lettuce,
cheese,
pickles,
onions on a
sesame seed bun
Big Mac Index, 2011
10) Feeling, Exploring and Describing a Fragrance, 2011
Feeling, Exploring and Describing a Fragrance
Stage One: Feeling
1. Take the perfumed stick by the larger end.
2. Close your eyes and relax, breathing deeply.
3. Bring the other end of the stick towards the nostrils without touching them.
4. Let yourself take the scent in, immersing yourself in it. It is important that you do not pass judgement yet,
even if you particularly like or dislike it.
5. Then you let yourself start to associate emotions and memories with it, still keeping the thoughts
in your head.
6. Once you feel you can make a clear judgement on the scent, start noting down your first impressions
on the form, in the section marked “Personal evocations/feelings”.
7. When you have done this, let your nose recover for a few minutes before smelling the fragrance again
to discover other aspects of the scent.
8. Once you feel that you have made adequate notes, you can then move on to the next one, ensuring
that you repeat the previous steps.
9. When you have tried each of the 6 fragrances, you can then attempt to do the exercise “blind” (i.e. to smell
a scent without seeing the code) and try to find out the number of each one using your notes. It’s a good
way of both discovering new aspects of scents, as well as to check the accuracy and faithfulness of your
observations.
You can also note the evolution of the fragrance over time: there can be notable difference between how it
smells in the first minute of testing and how it smells in, say, 30 minutes’ or an hour’s time. It could even be that
the scent has practically disappeared.
Stage Two: Expansion
In order to broaden your olfactory horizons and to enrich and to enrich your experience, you could ask yourself
the following questions:
Where does this scent take me?
Which person or event does this remind me of?
Which parts of my body react to it?
What impact does it have on me? (calming, stimulating, sensual)
What plant or object does this fragrance smell like?
What type of man or woman would you associate with this particular smell?
Stage Three: Analogy
This part is all about trying to define and refine a specific terminology that allows you to describe your thoughts
and feelings about each fragrance, so that you can reach a consensus with your partners. For the moment,
continue to remember your views and opinions – you don’t have to share them until the end of the workshop.
a) Sensory Analogies
Because the terminology is generally quite weak, one tends to use comparative words in a different way. Try to
define each product with 3 or 4 adjectives like to ones below which are often used in the perfume industry:
Touch – hot, fresh, soft, powdery, rough, sharp, smooth, dry, light, heavy, moist, thick, fine…
Taste – sweet, salty, bitter, acidic, sour, peppery, aqueous (like water), fermented…
Hearing – high-pitched, low-pitched, piercing, vibrant…
Sight – green, flat, pointed, round, clear, radiant…
b) Scent Families
Every scented-product is very complex, like a musical instrument (the difference being that there aren’t essential
elements to scents, like there are notes in music or primary colours in painting, for example). Nevertheless, one
can still “class” fragrances into families: be it based on the products origins, or be it the evocative memory of
natural substances or the synthetic molecules which remind you of them.
Main families:
Citrus Fruit (lemon, orange, bergamot, tangerine…)
Floral (rose, jasmine, tuberose, orange blossom, violet…)
Greenery (herbs, cucumber, hyacinth, cyclamens…)
Wooded (cedar wood, sandalwood, vertiver, patchouli oil, resin, lichen…)
Spiced (clove, pepper, ginger, cinnamon, nutmeg…)
Aromatic (lavender, eucalyptus, camphor, mint, sweet basil, sage…)
Fruity (vanilla, coconut, peach, plum, apple, strawberry, mellow…)
Balsamic (incense, myrrh, perubalsam…)
Animal (musk, civet, leather…)
Finally there exists some specific qualifying adjectives used by fragrance makers: Aldehydic, “Capiteux”
(intoxicatingly heady), Ethereal, Chypre… for which you need some experience to understand the exact
meaning.
Stage Four: Symbol
It’s now time to try and give the scents a name. In order to do this, a lot of symbolic and energetic language,
taken from both oriental and western traditions, is used. To try and help you get to this stage, you can help
yourself to the following systems to choose the name that, you feel, sounds best:
1.
2.
3.
4.
5.
6.
Alchemic elements: Earth, Water, Fire, Air, Ether
Chinese Elements: Water, Wood, Fire, Metal, Earth
Astrological signs or planets
Seasons or cardinal directions
Chakras or energetic centres, …etc.
Tarot
All of the selected fragrances used today were used so they could be easily named, which, in turn, means that
they can also be associated with a symbol. It’s best not to try and find an exact answer, as there probably isn’t
one, but what counts is the fact that you are being creative about it.
Another approach could also consist of classing the different scents from, for example, most dense to most
subtle.
Stage Five: Sharing and Harmonising
1. The members of each mini-group take it in turns to choose one of the 7 “products” and describe them
(without, of course, letting people know which number it is), using the terminology in the part “Sensory Analogy”,
to see if the others can manage to guess which one you were describing. If they’re struggling, then you are
allowed to tell people the name of the “family” it belongs to, and (only as a last resort) then you could indicate
the apparent plant or animal substances.
2. Once the scent has been guessed correctly, everyone can then put forward their own opinions about it,
so as to try and help the group to broaden its horizons to an extent. It is often surprising to see how a group
working together can reach a consensus to build a more complete picture of a fragrance.
3. What you could also do is repeat this process between groups in order to see if the results you get from
this are better than the initial process within your group – this way you can check that the collective work has
improved the communication and the consensus in describing a fragrance.
Feeling, Exploring and Describing a Fragrance,
2011
IMPRINT
INSTALLATION VIEWS AT THE BERLINISCHE GALERIE, BERLIN, 2011
PHOTOS:
© CARSTEN EISFELD, 2011
ESTHER SCHIPPER
SCHÖNEBERGER UFER 65
D-10785 BERLIN
TEL: +49 (0)30 374433 133
FAX: +49 (0)30 374433 134
WWW.ESTHERSCHIPPER.COM
[email protected]