more info and visuals of the Graz launch

The participating artists of under.ctrl are Nooshin Farhid (Iran/the UK), Hristina Ivanoska (Macedonia) Effie - Amir (Israel/Belgium), Zhou Hongxiang (China), Ran Slavin (Israel), Anabala (Turkey), Sala Manca (Argentine/Israel), Ligna (Germany), Erhan Muratoglu (Turkey), Michael Zinganel (Austria), Pragmatic Sanction (Austria), Vuk Cosic (Slovenia), Nicole Pruckermayr - IOhannes zmölnig (Austria), Yane Calovski (Macedonia), FOS (Denmark) and Igor Stromajer - Brane Zorman (Slovenia).

Participating artists of the loosing.ctrl screening programme are Yael Bartana (Israel), Erhan Muratoglu (Turkey), Ruti Sela - Maayan Amir (Israel), Can Turkinan - Özlem Sulak (Turkey), and Hatice Guleryuz (Turkey).

The panelists are Andreas Leo Findeisen (Austria), Marina Grzinic (Slovenia). The moderators are Emre Erkal, Erhan Muratoglu and Basak Senova of NOMAD (Turkey).

formats: video works, installations, documentaries, screening programme [loosing.ctrl], live performances [Ran Slavin (Israel), Sala Manca (Israel), Anabala (Turkey)], presentation [Ligna (Germany)], and panel.

audio-video streaming, hosted by (Ales Zemene)

Stadtpark 1
A - 8010 Graz

Michael Zinganel (Austria)

Michael Zinganel works as theoretician on architecture, visual artist and curator in Graz and Vienna. (Bachelor of Architecture at TU Graz; Postgraduate study at Department of Fine Arts of the Jan van Eyck Academy Maastricht; PhD in History at the University Vienna). From 1996 to 2003, he worked as a curator for visual arts at Forum Stadtpark Graz; since 2001, he has worked as an Assistant Professor at the Institute for Architectural Theory; lectures and guest professorships at various Austrian universities; national and international exhibitions and lectures.

Lives and works as scientist of cultural studies in Graz and Vienna. Emphasis of work a.o. "Die Produktivkraft des Verbrechens für die Entwicklung von Sicherheitstechnik, Architektur und Stadtplanung"; and recently "Tourismus als Motors des transnationalen Kulturtransfers".

Publications (selection): with Matthias Marschik, Rudolf Müllner and Georg Spitaler (ed.) "Stadion. Architektur, Politik, Ökonomie", Vienna 2005; with Peter Spillmann (ed.) "Backstage*Tours. Reisen in den touristischen Raum", Graz 2004; "Real Crime. Architektur, Stadt und Verbrechen", Vienna 2003.


Crime does pay!

‘“Crime does not pay!” Not so!’, wrote Marx. Crime pays very well indeed –
not always for the ‘criminal’ or his unfortunate victim, but certainly for
‘society’. Because according to Marx, the criminal not only produces the
crime itself, but also the preventive measures against crime. In other
words, the criminal produces the police, the penal code, the judicial system and the prison, as well as all the forms by which criminality is proclaimed, whether it be in the ‘fine arts’, in scholarly publications or in the mass media.

The anxiety generated by real or imagined "crime" is not only portrayed in
numerous aesthetic forms of expression, like crime novels and cop movies,
which serve the psychological processing of crime. It is also enshrined in
countless preventive structural, architectural and town-planning measures. In this way, suppositional crime opens up a sizeable market, and contributes more (according to Marx) to national income than many more reputable business sectors. If crime threatens to disappear, it is reinvented by those with a vested interest in anxiety: the police, politicians, planners, the building materials, security and insurance industries, but also artists, authors, and academics like myself whom have made this field of production the focal point of their ‘research project’.

The presentation offers an "exhibit" of pieces of evidence to support the
theses lined out in the abstract before. For further evidences and arguments please read: Michael Zinganel, REAL CRIME, Architektur, Stadt und Verbrechen, Wien 2003.