Overground Resistance Exhbition at Fluc, Vienna.

IN THE CUBATUR OF THE KABINETTS - the Kunstsalon shows: Wednesday, 6. April (STOP 13.04.) //English version below// OVERGROUND RESISTANCE With works by the artists: Noel Douglas (UK), Gilbert Kills Pretty Enemy III (Hunkpa Lakota of the Standing Rock Sioux Tribe/US), Nicolas Lampert (US), Oliver Ressler (AT) and Seday (FR) Curated by Oliver Ressler 25 years of climate negotiations have not caused a reduction in global CO2 emissions within the framework of the United Nations. Extra-parliamentary and horizontally organized social movements therefore increase the pressure on governments to herald the end of the fossil-fuel economy and the switch to a carbon-neutral society. For example, the occupations of the lignite mining sites in Germany have centrally contributed to the fact that the Federal Government decided to phase out coal (even if it is far too late in 2038 as an exit date). Without years of pressure from indigenous activists, US President Joe Biden would probably never have revoked the permission for the Keystone XL Teersande oil pipeline. While historical resistance was mostly organized “underground” by partisans or non-parliamentary groups, climate activism, in contrast, “overground” takes place on a large scale – even if the limits of what is defined as legal are often crossed. The global bandwidth and the visibility of the movement show the frightening global extent of the threat and the unprecedented boundary of the collective determination to counteract it. Millions of people who want to prevent the complete planetary climate collapse and want to preserve the Earth as a living space for generations to come, will become active in the climate justice movement. This also applies to numerous artists. In recent years, it has increasingly been observed that artists no longer only make climate change the subject of their artistic works. The presentation in the fluc brings together artists who develop their works in dialogue with the climate justice movement and see themselves as part of these movements. The project is the result of the exhibition “Overground Resistance” shown in the free space of the Q21 exhibition space in 2021 and transfers some of the works into the public space. Thanks to Elisabeth Hajek, artistic director of frei raum Q21 exhibition space Fluc Art Program 2022 curated by Ursula Maria Probst. Produced by Martin Wagner, Francesca Romana Audretsch. Grafic Design: Alexandra Berlinger PROACTING DESCRIPTIONS: Noel Douglas, Burn Now..., 2021 This poster “Burn Now...” is part of a series of collages made by the artist of burning gas stations, to which he has juxtaposed with images of forest fires in Greece and Australia. It was created for the ’BanFossilAds campaign, which hacks over 200 billboards and bus stops by activists in the UK, Belgium and France. Ogilvy, MediaCom, VCCP and others were associated with their carbon-intensive customers such as Shell, BP, Jaguar Land Rover and British Airways through fake ads installed without permission. The action was part of a four-day Europe-wide protest action against fossil advertising and sponsorship under the motto "BanFossilAds at the conclusion of the UN Climate Summit COP 26 in Edinburgh. Gilbert Kills Pretty Enemy III, NoDAPL, 2016-2017 Gilbert Kills Pretty Enemy III “Ta Sunka Gi Hetchia-Chameleon Horse” using many artistic techniques, e.g. Drawing, graphics, design, painting, mixed media and Ledger Art. The posters and banners of the Bunkpapa Lakota, which belongs to the Standing Rock Sioux Tribe, gained great importance for the Dakota Access Pipeline protests from 2016 (NoDAPL). The protests were base riots of indigenous people against the approved construction of the Dakota Access pipeline of Energy Transfer Partners in the northern United States. The art of Gilbert Kills Pretty Enemy III is a sharp communication weapon for indigenous water guards; by uniting past, present and future stories and images, it also reflects an indigenous understanding of time. “There is no separation between the past and the present, so that an alternative future is determined by our understanding of the past. Our story is the future,” writes Lower Brule Sioux Tribe member and co-founder of Red Nation, Nick Estes*. Nick Estes, *Our History is the Future: Standing Rock versus the Dakota Access Pipeline, and the Long Tradition of Indigenous Resistance, Verso books, 2019 Nicolas Lampert, Capital Pipeline, 2014/2022 “Capital Pipeline” shows the US Capitol Building and addresses the politics that finances climate chaos. The picture shows how politicians are bought and sold from the fossil fuel industry, making the climate crisis a political crisis. It also points out that fossil fuel industry in the United States and many other countries receives massive subsidies from the federal government, which fill the pockets of a handful of multinational corporations and accelerate the demise of the planet. The forecasts of science are clear. The same applies to the message of the climate justice movement: we now need a rapid switch to renewable energies. To achieve this, we need a system change Oliver Ressler, We are all learning about nature's circulatory systems by poisoning them, 2021 The existence of human, animal, plant and bacterial life is directly linked. The complexity of the connections between life on the planet is also evident when one of the actors fails. These connections seem to be broken right before our eyes. According to scientific calculations, 150-200 species in our collective habitat could currently be extended daily. Through the 6th Mass Extinction and the climate collapse, the pursuit of a radical social upheaval is not an option, but the only possibility of continuing life. Seday, painting on banks, 2015-2020 In fact, the movement has grown. At first, there were very few of us doing it. But recently, banks have become a preferred goal with every demo. We see ourselves as part of the current Black Block that attacks the symbolic. Since 2006, the demonstration trains have been followed by cleaning trains to clear the traces of the protest. At the same time, the mainstream media are writing the story around in real time: “There is no protest, you can sleep peacefully, everything is normal.” Our answer to this is to leave a trace. A symbolic trace of how to underline what is wrong. Once I heard a child ask his mother: “Why are the banks hiding behind these fortifications?” I understood that we had hit the right place. That is why I only pick up banks in my practice, and systematically. I prefer to spray than use the chisel, because the visual shock of color is closer to art rather than destruction. I believe more in transformation than in destruction. We are in a time of great transformation. Excerpt from an interview with Seday in the French magazine Nantes Révoltée, 3. February 2021 BIOGRAPHY: Noel Douglas is an artist, designer and activist who works with different media and various types of public space. A selection of his most recent exhibitions are Hope To Nope at the Design Museum, Disobedient Objects and A World To Win, Posters of Protest and Revolution at the V&A, which have been toured nationally and internationally in recent years, and Graphic Design Now In Production, which has toured the United States. Noel Douglas was a finalist at the 2010 International Poster Biennial at the Wilanà w museum in Warsaw and one of the artists of the Taipei Biennial 2008 in Taiwan. In 2009, together with Tony Credland, he curated the group exhibition Signs of Revolt at the Truman Brewery in London in November 2009, which provided an overview of politically engaged works of recent decades. Nicolas Lampert is an artist and author living in the USA who deals with topics of social justice and ecology in his work. He collaborates with the Justseeds Artists’ Cooperative, a printing cooperative founded in 2007 by over forty artists. He also works with the Art Build Workers, who organize several-day art actions for trade unions and the movement for the rights of immigrants. He is the author of A People's Art History of the United States: 250 Years of Activist Art and Artists Working in Social Justice Movements. Gilbert Kills Pretty Enemy III (Standing Rock Sioux Tribe-Hunkpapa Lakota) was influenced by family members who dedicated their lives to the production of indigenous art. Gilbert was inspired to create his graphic artworks with traditional themes. He is constantly expanding the media with which he works and integrates new art styles for a new generation. “I am constantly creating new works of art and taking new methods to create my art. I constantly change my art like a chameleon, with the power of a horse.” Gilbert continues to work to strengthen his company by optimising production and expanding its audience with an online presence that extends beyond the boundaries of his reserve. Oliver Ressler works as an artist and filmmaker on economics, democracy, migration, climate crisis, forms of civil disobedience and social alternatives. He has had over 90 solo exhibitions; this year, solo exhibitions in Neuer Berliner Kunstverein; State of Concept, Athens and Tallinn Art Hall are in preparation. His 39 films were shown in thousands of events of social movements, art institutions and film festivals. Ressler has participated in more than 400 group exhibitions, at the Museo Reina SofÃa, Madrid; Centre Pompidou, Paris and at the Biennales in Taipei (2008), Lyon (2009), Venice (2013), Quebec (2014), Kiev (2017) and Documenta 14, Kassel, 2017. Seday is a French-based artist who works in public space. Its preferred image carrier are the facades of banks. with the kind support of the City of Vienna/Ma7 and the Federal Ministry of Arts, Culture, Public Service and Sports /// English version OVERGROUND RESISTENCE With contributions by Noel Douglas (UK), Gilbert Kills Pretty Enemy III (Hunkpa Lakota of the Standing Rock Sioux Tribe/US), Nicolas Lampert (US), Oliver R

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