Pluriversale VII: Stealing from the West. Cultural Appropriation as Postcolonial Retaliation
Academy of the Arts of the World / Cologne, Fall Program
September 20 – December 10, 2017
With Yuri Albert, Kader Attia, Lawrence Abu Hamdan, Younes Baba-Ali, Ines Doujak, Tom Gould, Ramon Haze, Uriel Orlow, Gosha Rubchinskiy, Ulay
Venue: ACADEMYSPACE, Herwarthstraße 3, 50672 Cologne
Other events: (various locations in Cologne)
With Clara Balaguer, Vivek Chibber, Florian Cramer, Jan Peter Hammer, Louis Henderson, The Jitta Collective (Stephanie Thiersch & Kefa Oiro), Hari Kunzru [tbc], Gym Lumbera, Naeem Mohaiemen, Rabih Mroué, Milo Rau, and others
Exhibition concept: Ekaterina Degot
PLURIVERSALE VII is curated by Ekaterina Degot, David Riff, Aneta Rostkowska and the whole team of the Academy of the Arts of the World.
Cultural appropriation has recently become the subject of heated debate. What was until very recently considered a purely aesthetic, vaguely post-modern, individualistic device of free, playful translation and citation of texts from “other” cultures, is suddenly revealed in its frightening political economic dimension of exploitation and profit. A white dominant majority takes everything it likes to the detriment of indigenous voices, people of color, and others who are culturally and politically oppressed.
We, however, want to turn to another side of this story overshadowed by recent discussions: the strategy of cultural counter-appropriation used by the underprivileged, in postcolonial Africa or in the Europe of migrants, as well as by those on the margins of Europe in the former socialist world. The thieves, counterfeiters, and resistant appropriators in Stealing from the West show that stealing from the West and faking its glossy products is not a proof of belatedness. Instead, it is a potent tool of cultural resistance and an instrument of postcolonial retaliation. It is also a strategy to demonstrate that all-white “high culture,” paid for by the lives of millions of slaves and colonial subjects, is common property and belongs to all.
An early intervention by Ulay already made this point in 1976, when he stole one of the most popular paintings in the collection of the Neue Nationalgalerie in Berlin, The Poor Poet by Carl Spitzweg (1839), only to hang it in the apartment of a Turkish immigrant family. The Poor Poet , not really a high culture masterpiece, represents a territory of Western culture even more fiercely protected, the bourgeois value of sentimentality (Adolf Hitler’s favorite), as well as the hypocritical idea of “pure” noncommercial art. By symbolically giving this painting to the relatively disenfranchised, Ulay exposes the fake compassion to the non-threatening poor that is at the core of the mawkish popularity of the painting.
The exhibition opens with some historical examples of daredevil wrecking and looting that duplicates conscious and programmatic political acts, post-colonial assertions of rights, or maybe just acts of vengeance. The “Pink Panthers” are a legendary gang of diamond robbers from ex-Yugoslavia, who, as many journalists argued, take revenge on the West for the destruction of their socialist country. Perhaps the Pink Panthers are a softer and ironical Eastern European version of the Black Panthers who boast their pride in their difference by assuming violence. In the exhibition, a documentary film by Havana Marking (Smash and Grab: The Story of the Pink Panthers, 2013) tells their story.
Another cultural phenomenon is Lo Life Crew – a Brooklyn gang, formed in 1988, united by a singular passion to be dressed head-to-toe in Ralph Lauren clothes, shoplifted with artistry and rare panache. The cultural détournement consisted in appropriating Ralph Lauren of all labels, this embodiment of all-white American wealth, this territory of the quietly affluent, busy with golf, skiing, and sailing, – territory that could not be more at odds with the lifestyle of a poor black and Latino neighborhood. (In the show, they are represented by archival materials and Tom Gould’s photographs).
This appropriation of brands is a conscious artistic strategy pursued by young designers from the margins of the “big fashion world”, as Moscow-based Gosha Rubchinskiy, whose fake Tommy Hilfiger logos recently made headlines. Artist Ines Doujak’s sculptural Looters (2016) are part of her long term Loomshuttles/Warpaths project where she explores the links between textile production, colonialism, and violence.
They stand for the universal figure of a rioter whose protest against the capitalist system is immediately translated into the language of consumerism in its radical form: property theft. By stealing from the rich and culturally dominant, the looters who do not fit into the mono-ethnic idea of Europe, appropriate their place under the Western sun as well, like Younes Baba-Ali’s illegal migrant street sellers in today’s Italy who proudly display this country name on their sweatshirts (Italianisation, 2016).
Another mode of “stealing from the West” is represented by artists from the formally not colonized, but nevertheless culturally marginalized outskirts of the “big world,” Eastern Europe or East Germany, who mockingly “counterfeit” the Western modernist canon while confessing openly that this imitation is bad and technically poor. This ironic narrative of the failure to be original is central to Moscow-born Yuri Albert. One of his seminal series, begun in the 1980s, engages in self-deprecating tongue-in-cheek “failed imitations” of international textbook artists’ styles – while proclaiming his originality: I am not Jasper Johns, I am not Lichtenstein, I am not Andy Warhol.