“…and diggings revealed unforseen finds” – Reports from the Capitalocene

Andrea Anderson, Michael Baers, Aikaterini Gegisian , Riccardo Giacconi

“…and diggings revealed unforseen finds”
Reports from the Capitalocene

Angela Anderson
Michael Baers
Aikaterini Gegisian
Riccardo Giacconi

Curated by Andrei Siclodi

Opening on Thursday, 16 May 2019 at 7 pm

Welcoming: Katharina Cibulka, member of the board of the Tiroler Künstler*schaft
Introduction: Andrei Siclodi, Curator


The exhibition “… and diggings revealed unforeseen finds” – Reports from the Capitalocene shows new and  in Innsbruck produced works of the participants of the Fellowship Program for Art and Theory at Künstlerhaus Büchsenhausen 2018-19. In their respective projects, Angela Anderson, Michael Baers, Aikaterini Gegisian and Riccardo Giacconi have dealt with forgotten as well as under-examined social and political narratives that could prove relevant for the understanding of contemporary societal dynamics. The contributions of the four artists merge into a polyphonic, virtual narrative of various aspects of the historical development of our present – a poetic report from a time that is gradually freeing itself from the monotheism of cartesian rationality. This monotheism has generated the Janus-faced figure of the Capitalocene, constantly attempting to disguise its nature by trivialising the accompanying social and cultural consequences of the advancing exploitation of the earth as a resource. In the Capitalocene, everything, not only the Earth but also human beings, turn into  a resource. The critical examination of  the mechanisms of exploitation and concealment is therefore all the more important, but also to dig up spillages and reconsider them. To a certain extent, this exhibition intends to do exactely so: In her multimedia, cinematic installation, Angela Anderson focuses on contemporary, realpolitical, feminist alternatives to the machines of androcentric, extractive capital that destroys nature and culture. The discreet signs of everyday life that accompany the transition of a society to totalitarianism are subject of Michael Baers‘ audio piece, whose narrative thread is set in the spring of 1933, when the National Socialists celebrated successes at Innsbruck’s municipal elections. In her six-channel video work, Aikaterini Gegisian forms a feminist reframing of the representation and mediation of the European community project, as it was presented in US newsreels in the 1940s and 1950s, primarily as a necessarily networked reindustrialization project of post-war Europe. Finally, Riccardo Giacconi addresses in a multimedia installation the “conservative utopia” of a habitat, realized in the 1970s under the name Milano 2by the investor Silvio Berlusconi as a capitalistically chummed up, proto-populist residential architecture between pseudo-traditionalism and new media.

The participating artists:

Angela ANDERSON is an artist and filmmaker working at the intersection of philosophy, ecology, economics, migration, media, and feminist & queer theory. Central to her work is an awareness of the intimate connection between media production, memory and apprehension, and the potential of audio-visual media to open up new lines of flight.

Michael BAERS has previously researched cultural politics in Israel and Palestine, in 2014 publishing online with the Haus der Kulturen der Welt a lengthy graphic work about the 2011 Picasso in Palestine project, An Oral History of Picasso in Palestine. He has also published comics and texts on contemporary art and artistic research, cultural politics, and urbanism, contributing to a variety of publication projects and internationally recognized journals, such asA-Prior, the e-flux journal, and Vector – critical research in context.

Aikaterini GEGISIAN is an artist of Greek-Armenian heritage that lives and works in the UK and Greece. Building on her contribution to the Armenian Pavilion, 56th Venice Biennale (2015 Golden Lion for best national participation), she has over the past two years developed a series of new commissions exploring the role of images in the construction of national and gendered identities.

Riccardo GIACCONI studied fine arts at the University IUAV of Venice. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin) and at the 6th Moscow International Biennale for Young Art. He has presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication Paesaggio and the Helicotrema festival.

The participants of the events:

Miguel AMADO is a curator, currently Director and Curator of Cork Printmakers, Ireland. His practice explores alternative narratives of art history and art markets, revealing  subaltern art practices and considering the useful dimension of art. He has been collaborating with Aikaterini Gegisian in recent years, curating her first film survey and commissioning various works for Middlesbrough Institute of Modern Art, in England, where he served as Senior Curator between 2015 and 2018.

David KAZANJIAN is Professor of English and Comparative Literature at the University of Pennsylvania and Co-Director of theTepoztlán Institute for Transnational History of the Americas. His areas of specialization are transnational American literary and historical studies through the nineteenth century, Latin American studies, political philosophy, continental philosophy, colonial discourse studies, and Armenian diaspora studies. He is currently at work on two book-length projects. The first sets radical aesthetics in the contemporary Armenian diaspora against the diaspora’s melancholically nationalist understandings of genocide. The second finds anti-foundationalist critiques of dispossession in the late seventeenth and early eighteenth-century Afro-Indigenous Atlantic.

Christian QUENDLER is associate professor in the Department of American Studies at the University of Innsbruck, where he teaches film and media. His most recent book is The Camera-Eye Metaphor in Cinema(Routledge, 2017).

Annie SPRINKLE‘s & Beth STEPHENS‘ work reflects two lines of force within radical feminist art. While Stephens (born in 1960 in Montgomery, West Virginia) was intervening in the gallery space and within video art beginning in the late 1980s, introducing representations of lesbian and queer culture, Sprinkle (born in 1954 in Philadelphia) was working to undo the dominant codes of representation in pornography, as a porn actress and activist beginning in the 1970s, campaigning to defend the rights of sex workers. Their coming together as an art duo in the early 2000s represents the alliance of these divergent discourses as it gives way to “ecosex” art and activism.

Nina TABASSOMI is a curator and theatre scholar. Having worked in Berlin (Based in Berlin, KW Institute for Contemporary Art), Kassel (Fridericianum) and New York (Ludlow 38), she is now director of the TAXISPALAIS Kunsthalle Tirol, a position she has held since the beginning of 2017. Among others, she curated the group exhibitions Infrastructures of Pain, Accentisms and the Trilogy Lieben-Sex-Lachen as well as solo exhibitions by Eric Baudelaire, Emeka Ogboh and Maryam Jafri.


Duration of the exhibition:
17th of May – 3rd of  August 2019