Window Projections "How to make a Revolution", by Lucia Tkácová and Anetta Mona Chisa

Videostill Lucia Tkácová / Anetta Mona Chisa, How to make a Revolution, 2006 © die Künstlerinnen / n.b.k. | 2,3x1 © Lucia Tkácová / Anetta Mona Chisa / n.b.k.

Mon, 09/11/2023 -
Sun, 09/17/2023

Goethe-Institut Montreal

n.b.k. Video-Forum | Window Projections

The Goethe-Institut Montreal, in cooperation with the Neuer Berliner Kunstverein (n.b.k.), presents a screening programme of 20 video works from n.b.k Video-Forum’s extensive video art collection, curated by Anna Lena Seiser (Head of Collection n.b.k. Video-Forum).

The individual films will be shown for a week at a time sunset to 2:00 a.m. on the display windows of the Goethe-Institut at 1626 Boul. St-Laurent, Montréal, Québec, H2X 2T1, Canada and can be viewed on an indoor screen during the Goethe-Institut's opening hours:

How to Make a Revolution

Anetta Mona Chişa, Lucia Tkáčová
2006
02:55 min.

In their collaborative works, Anetta Mona Chişa and Lucia Tkáčová address gender relations and their own role as Eastern European women artists in a Western-dominated art world. In How to Make a Revolution, the camera is focused on a glowing computer screen in the dim evening light. An anonymous person types on the keyboard the scenario of a future life course, in the form of a list of various measures that are to help achieve a breakthrough in the art world. The master plan depicted not only leads the intimate hopes for a successful career as an artist ad absurdum, but at the same time poses the question of the potential for changing an existing system.


Anetta Mona Chişa (*1975 in Nădlac / Romania, lives in Berlin and Prague) and Lucia Tkáčová (*1977 in Banská Štiavnica / Slovakia, lives in Berlin and Prague) have collaborated since 2000, in addition to their independent practices. Together, they examine processes of transformation in the discourses of art, politics, and gender in post-Communist Europe. Their video performances, installations, and text-based works humorously question the relationships among players in the international art industry and, in particular, the expectations the profit-oriented West places on Eastern European artists. The process of post-Communist transformation, with its multiple fractures and discontinuities, provides the thematic framework for many of their works.

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