"One Day We Will All Say The Same Thing"

Simon Goldin & Jakob Senneby

A project by Adina Popescu in collaboration with PS1 Radio.
Production: Dominikus Müller & Jette Miller

Please join us for the broadcast on the PS1 Radio Boat in Venice at the opening of the Venice biennale.
The boat is located at the entrance to the Giardini near the Monumenta Delle Partigiano

Friday, 8th of june, 10 pm.
Venice local radio frequency :101 Mhz
web: http://www.wps1.org

This „curated radio show“, with talks and soundpieces, is the second part of the Saloon Project that took place at this year's Moscow Biennale.

Curatorial Statement:
„All of the pieces have evolved around the investigation of the "future" by exploring new technologies, scientific narrations, fictional thinking and its direct impact on the production of our so called reality. I am interested in Space methods, in the „art“ of reading satellite images and maps which clearly indicate a plan or an action, while a painting does not. Satellite imaging and mapping are clear instructions, performative acts which, once realized, shape the surface of the earth and our society. The general thesis is that mapping and earth engineering are forms of architecture, which are implementing their "futuristic" models into the real world and, in doing so, are making the future present. Every utopia MAKES the present from which it stems, and to which it owes the new (fictitious) future of prolonged ideals, into the past, whereby the author of this utopia is above all the producer of the coming times. In a utopia one finds not only the expression of dissatisfaction with the present, but also the direct and imposing configuration of the future.“

The show includes talks and soundpieces by:

Mircea Cantor
„Unpredictable Future“
produced by Dominikus Müller
Unpredictable Future is a soundpiece which follows the theme of Mircea Cantors last work, keeping the same title. The work consists of a lightbox on which we see a steamed window where the trace of the writing of someone's finger says: „Unpredictable Future“. The piece
broadcasted is to be seen as a variation on this theme, in the realm of sound.
Within the soundpiece a man and a woman are repeating „Unpredictable Future“ in 27 different languages. It is readable in two ways: it can stand in for the fear of an unpredictable future, which in the 1990's still seemed to be so balanced and predictable, whilst at the turn of the century international terrorism, globalisation and global warming became signifiers of a fear, which derives from the loss of the belief that our future is predictable or controllable in any sense.
However, one could also think of another reading. „Unpredictable Future“ can stand for the openess of future possibilities and our responsibility for „shouting out“ the Future. By depicting our Future, by deciding on a certain set of possibilities, we are actually realising our future within our shared present.

Simon Goldin & Jakob Senneby
„One Day We Will All Say The Same Thing“
..is a soundpiece on call centres in Bangalore which was produced for
the Saloon at the Moscow biennale. It deals with new forms of cultural colonisation, as seen by the phenomenon of spreading biennales all over the world. The production of visual culture and communication technology, which export standardized english and a standardized idea of communication, are the new forms of colonisation, which may perhaps affect India even more than British colonialism ever did.

„The Encountershow“
„The Encountershow“ is the centre piece of this show consisting of three parts; an opening, an interlude and a closing section which structure the whole radio-broadcast. It takes up the idea of Steven Spielbergs „Close Encounters of the Third Kind“, by building on the film’s spheric sounds. It brings radio-broadcasting back to its initial idea of „transmission“ and the Utopia of telepathy. It suggests a “space in between” in which the listeners can communicate with absent persons; absence in general.

Wolfgang Staehle
„Jardin De Uslar“
Wolfgang Staehle's contributions to this radio-show are two sound-pieces recorded whilst traveling in South America. They deal with the themes and topics of colonisation, and link them to the opposition of nature and culture, authentic and artificial.
„Davi“ is a field-recording of an evocation by the Yanomami from the Amazonas region. It was recorded by the Yanomami themselves, taping the moments of ecstasy and trance.
„Jardin De Uslar“ was recorded in the Garden of the Goethe Institute at Caracas, Venezuela. Johann Freiherr von Uslar * 1779, † 1. April 1866 in Valencia, Venezuela was a Colonel Commander of the Gardegrenadiere Bolívars, and Commanding General of the republic of Venezuela. The piece simply tapes the sounds of frogs which happen to form a totally unconducted concerto, reminiscent of the phase-effects known from the work of minimal-music composers Steve Reich or Philipp Glass.

The soundpieces are interwined with conversations recorded by Adina Popescu in Moscow.
The conversations are with writer and artist Pavel Pepperstein on the difference between the terms „Cosmonauts“ and „Astronauts“, and on the relationship between reality and fiction.
With Mikhail Kotomin, head of the publishing company Ad Marginem, on „Pentagon and Swastika“, the new book by Pavel Pepperstein which looks at archaic symbols without meaning, the Lemonov political party, and the need for „shouting out our future“ and in doing so, making it real.
And with Professor Bartalev Sergey Aleksandrovich from the Space Research Institute in Moscow, on societal and national constructions, earth engineering and how satelite imaging is shaping the view of our world.

Part II of this show, which will be broadcasted in September, will be a collaboration with Peter Fend on the idea of „earth engineering“ by geological modification. The centre focus will be architecture of the planets surface motivated by, amongst other things, national constructions and the economics of resources.
please scroll down for images

Participants of the Saloon-Project at this year's Moskow Biennale:

Nathalie Djurberg
Peter Fend
Simon Goldin/ Jakob Senneby
Johan Grimonprez
Jette Miller
Warren Neidich&Elena Bajo
Michael Portnoy
Ivan Razumov
Wolfgang Staehle
Joulia Strauss
David Ter-Oganian
Pavel Pepperstein
Kirill Preobrazhensky
David Woodard

saloon press release

The Second Moscow Biennial of Contemporary Art, Mar. 2007, has been announced. The title and theme of the Biennial is „Footnotes about Geopolitics, Markets and Amnesia.“
So far the press announcement..

Our contribution:

We are going to implement not a “Salon“ but a “Saloon”. A room within an other room, up on a pedestal, with sliding doors, a bar and gunfire around.
We are creating an imaginary room, which could be precisely reconstructed anywhere in the world and does not recognise the laws of the country surrounding it. The performance lectures and sound works will be perceived by people not only from Russia, but from all over the world, listening to the broadcast on PS1 radio (We are fortunate to have secured the co-operation with PS1 Radio, transmitting events from the Saloon). Site Magazine Stockholm will print the lectures held in the Saloon in their forthcoming „Moscow Biennial“ issue.
There, in the days prior to the opening, the participants will conduct a workshop all together. The workshop will result in the refined rules of the Saloon. This is not a group show nor a panel discussion. It is designed, through the tools of performance, media and discourse, to attempt a rejection of the symbolic value of participants as a way to stabilise ideological left-wing or right-wing, thus inciting a radicalisation of the artistic system; an experimental vacuum suggesting unborn thoughts onto the realm of worldly potential.
The Wild West in the Wild East- or: Gold digging

Like a Saloon in the Wild West, this room exists outside the social structure, forms a non-juridical zone (think of prostitution and gambling in Westerns, behaviours accepted only within the confines of a saloon), yet at the same time articulates the society surrounding it. The saloon assumes the role of its outer society's constitutive centre, simultaneously not a part of the structure in which it is embedded and its requisite black hole. The crucial murder is traditionally decided within the saloon, executed without.
In this Ausnahmezustand, this non-juridical space, we shall observe self-administered justice—and in so doing, adjust to our societal context.

We shall formulate a location-specific Manifesto and set of rules—where the Saloon travels, so its rules are redefined.
We shall produce knowledge on a basis of mental short-circuitry—not on a basis of clarifying fact and education but rather by creating a space with the characteristics of Ancient Greek theatre: the oldest democratic institution, where society reflected on its own grounds and negotiated its rules and development. It was the only place where rules could be trespassed, in order to move onwards.

International artists are collaborating with artists from Russia. We shall have performances, performance-lectures, screenings and exhibits. A Lab, located everywhere. A vacuum, which, due to its model character, tries to implement unborn thoughts into the realm of worldly potential.
The Saloon is:

- a room of assembly.
- a celebration of the pioneer spirit and all that comes with it.
- the Wild West in the Wild East: untamed capitalism, self-administrated law, survival of the fittest.
- a space for the performing and settling of power structures—a stage.
- a non-juridical, fictive space, displaced from its environment, yet at the same time the place where conditions of society are settled.

We will not conquer the desert, we will be conquering the moon!

Adina Popescu


Today, Biennales seem to conquer the most remote places of the world and provide a western cultural hegemony all the way from the US to China. A question arises: What is the role of the growing number of Biennales in the art world and art market?

While the politics of most countries differ, their markets seem compatible, e.g., China and Germany. In a globalized world, the marriage of capitalism and democracy seems to deteriorate. The market seems to form its own restrictive ideologies, causing a detrimental self-referentiality.

—What is the reason for this Biennale, which structurally resembles a known form (a forum for the exchange of and artistic ideas and practice) yet is assuming a new functionality? What does it really stand for and what structures are being implemented? What are its precedents, and what will it become? To question this metamorphosis is the key focus of my project.

The plan is to implement an umbrella, allowing artists, architects, composers, writers, curators and economists to collaborate in an ideological non-predetermined manner. In a world in which critique and provocation are anticipated and incorporated into the system, the production of irregularities, interruptions and short-circuits seems the most direct route to dissolving the borders that limit our autopoetic systems—and, with a little luck, accidentally producing reality.