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Odbyt w kutasie
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(Gówno) Chuj gówno rzygi Jebać twoją mame Twoja mama robi dla mnie lache Jebać tą dziwke kurwe pierdoloną Rozpierdoloną rozjebaną Kurwa w dupe wyjebaną jebać tą kurwe świnie pierdoloną zajebaną rozjebaną Chuj chuj chuj chuj chuj chuj chuj Sperma leci z chuja Leci tobie gówno z dupa Jebać twojego starego Skurwiela pierdolonego Oj oj oj oj Wchodze w dupę Oj oj oj Jebać tą kurwe twoją starą Kurwe pierdoloną rozjebaną Rozpierdoloną zajebaną Chuj jej w dupę Chuj jej w dupę Robie sobie kupe Gówno leci z dupy Chuj Chuj Chuj Chuj! Chuj Tu tu tu tu Pss pss pss U u Pss pss Pss pss pss pss Gówno gówno gówno gówno gówno Spеrma sperma sperma Gówno gówno gówno gówno Sperma spеrma sperma sperma U! U! Chuj Chuj Chuj Chuj Obrzygałem siebie Obrzygałem twoją mame Kurwo Masz obrzyganą pałe Jebać twoją mame Jebać Jebać! Jebać twojego starego skurwiela Pierdolonego Rozjebanego rozkurwionego Zajebanego gównem z gówna ulepionego Jebać tegloidów [?] kurwa buch [?] Żylu [?] pierdolony Co kurwo robią lody Ej ej ej Tu tu tu tu tu tu tu Ej ej ej ej Gówno z dupy żej [?] Ej ej ej ej Twój stary gej Ej ej ej ej Twój stary cwel Ej ej ej ej Wale chuja wale konia Sperma leci dla mnie z loda Kutasie pierdolony Obsłuż dla mnie lody Pierdole Ciebie, twojego starego Jebać tego debila pierdolonego Ej Tu tu tu Tu tu tu Tu tu tu tu *dziwny krzyk* *dziwne odgłosy* Chuj chuj Steprecords chuj Usuneło dla mnie film Jebać tych skurwysynów Pierdolonych tu debilów Nie usuwajcie dla mnie filmów Wy kurwy kurwa to był freestyle I pierdole was i tyle nara kurwa
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Solo Exhibitions Group Exhibitions Press
Nous Sommes Les Anti-Modernes Ephemera
A Thirteenth Month Against Time Edition
Long Live Long Live! Death to Death to!
Mother Tongues and Father Throats Ephemera
Al-Isnad or Chains We Can Believe In Lecture
Larry Nixed, Trachea Trixed Edition
Nous Sommes Les Anti-Modernes Ephemera
A Thirteenth Month Against Time Edition
Long Live Long Live! Death to Death to!
Mother Tongues and Father Throats Ephemera
Al-Isnad or Chains We Can Believe In Lecture
Larry Nixed, Trachea Trixed Edition
Slavs and Tatars’ various exhibitions, lectures, and books primarily fall within one of eight research cycles. These cycles range from alphabet politics (Language Arts) to medieval advice literature (Mirrors for Princes) to an investigation of syncretism (Not Moscow Not Mecca), amongst others. This organizing principle stems from the collective’s editorial focus if not their beginnings as a make-shift book-club. Often, exhibitions focus on one particular cycle (for example, Friendship of Nations); at other times, though, they bleed into one another. Like yoghurt, Slavs and Tatars’ work has an element of totum simul : the whole is in the parts.
Slavs and Tatars’ various exhibitions, lectures, and books primarily fall within one of eight research cycles. These cycles range from alphabet politics (Language Arts) to medieval advice literature (Mirrors for Princes) to an investigation of syncretism (Not Moscow Not Mecca), amongst others. This organizing principle stems from the collective’s editorial focus if not their beginnings as a make-shift book-club. Often, exhibitions focus on one particular cycle (for example, Friendship of Nations); at other times, though, they bleed into one another. Like yoghurt, Slavs and Tatars’ work has an element of totum simul : the whole is in the parts.
Whether microbes or mitochondria dwelling furtively on the skin or non-native agents living within us: bacteria comprise one kilogram of the average human body. Pickle Politics looks to the practices and symbolism of fermentation, constructing a political argument using notions of the rotten, the spoiled, and the soured.
Too often the cucumber is approximated as male genitalia, whether for sexual or silly ends. Lytes reclaims the feminine agency of the pickled cucumber via its nourishing role as provider of bacteria as well as luminosity. Installed in the entry hall of the Villa Arson, Lytes alerts visitors to salacious and salty offerings inside the exhibition space, architecturally and experientially, through a pickle bar where fermented cabbage juice is served.
Salty Sermon provides a manifesto for the collective’s approach to pickling. Slavs and Tatars see in fermentation nothing less than a robust challenge to the Enlightenment and its legacy of binary thinking. After all, fermentation is a means of preserving thru managed rotting; that is, achieving something via its counterintuitive antithesis.
Pickle Juice is an epiphenomenon, what we call a ’stupid’ medium, through which we can better understand cultural differences and complex approaches to time and history. If across Eastern Europe, pickle juice has traditionally been consumed as a hangover cure, in more recent times it is marketed in the West as a sports and performance beverage.
Replacing the traditional water bottles with an amameh or turban, Salamoia underline the discursive role of thirst in the foundations of Shi’a cosmology. Water-fountains are often found outside Shi’a shrines and mosques, as votive and ritual sources of water in homage to the 7th century Battle of Kerbala in the desert and the dehydration which followed.
Johann Georg Hamann, the enfant terrible of the Enlightenment, spent much of his childhood in the bath house of Königsberg which his father ran. Acqua di Georg pays homage to Hamann’s interests in salt cures, and the regime of affect and ratio imposed by a sauna experience.
Dillio Plaza reclaims the Turkic origins of fermentation, first used to preserve nutrition amongst nomadic tribes, those very foreign and ‘barbarian’ cultures against which Western Civilization has historically defined itself, from Herodotus to Hitler. Dillio Plaza challenges of the self through the unlikely relationship with bacteria and the microbe, the original Other or foreigner.
Often found in grocery stores, butcher shops and the like, PVC curtains often demarcate a space for its hygiene or climate control. The curtain features the dual nature of fermentation, as a form of rotting and preservation, as well as a performance enhancer or hangover cure.
Via its prolific use as a shorthand for satire, humor and comedy, here the gherkin becomes a verb, an imperative, in the shape of an exclamation mark.
One of a new series of works, Down Low Gitter like its predecessors Dresdener Gitter and Königsberger Gitter, takes the crowd-control mechanism (known as a ‘Gitter’ in German) in 1:1 scale and modifies it to address the civilizing and collective act of reading.
It is said that writing prioritises sound, and reading prioritises meaning. Here, a device traditionally used for crowd-control, known as the Hamburger Gitter, has been transformed into a reading bar by the artists as an allusion to the civilising effect of reading. The visitors are invited to take a seat.
Before print became an affordable technology, reading was in fact a collective and largely oral activity, in particular for holy texts. Underage Page stresses the shift in the history of reading as constitutive both of a community and individual subjectivities; a shift that, as the metal tube between the reader’s legs suggest, evokes the idea of penance or pleasure.
A device traditionally used for crowd-controls, known as the Hamburger Gitter, has been transformed into a pickle-juice bar. Visitors are invited to kneel down, much like on a church pew, to taste the soured fruits of our rotten social contract.
Pickle-juice is a ‘dumb’ medium (much like the balloon, or the monobrow, or a joke): its simplicity – fermented saltwater or brine in this particular case – allows us to demystify seemingly complex subject matter. For example the defeatism found in so many Slavic cultures versus the positivism of the United States. If in Eastern Europe pickle juice is a hang-over cure, then in the US, it is sold as a sports performance drink.
History is littered with attempts to draw spurious genealogies and threads across nations and tongues where no such thing exists. Brotha Tongue pays tribute to those failed linguistic attempts which didn’t necessarily suckle at the same breasts.
Leavened plays on the original term Hebrew origins of the name for Kumis (khametz). The nurturing role of the mother – namely, her breasts that provide milk – has soured or gone rotten. A tattoo in Hebrew reads ‘leavened’, a nod to the Jewish origins of the nomadic Turkic tradition of fermented milk found across the steppe.
Louis Pasteur's mustache, and face, are dripping with milk, a nod to the legendary Got Milk campaign. The legacy of the famous French scientist's work is exemplary of an Enlightenment project taken to an extreme: bacteria and microbes, we are told, are our enemies, so many foreign agents against whom we erect a liquid wall of hand-sanitizer.
Made from fermented mare’s milk and found across Central Asia, kumis was called milk-champagne and even cosmos by the first European travellers to the Mongolian steppe. Not only is mare’s milk hard to come by, its usage as a cure for mystery illnesses further lent the drink a cult status in the 19th and 20th centuries.
A fermented drink made from rye, kwas or kvass is a traditional Slavic and Baltic drink which has of late been promoted as an indigenous response to Coca-Cola and other imported soft drinks. The line dividing Slavic and Germanic peoples has long been a mobile one, shifting east or west as a result of wars, treaties, and migrations. Kwas ist das combines the two languages in one, offering a linguistic amalgam in lieu of conflict, one that essentially amounts to ‘WTF’.
The fermented mare’s milk known as kumis was extremely sought after in the late 19th and early 20th centuries for its healing power, earning it the moniker ‘milk champagne’. For Afteur Pasteur , their début exhibition at Tanya Bonakdar Gallery, Milk Champagne signals the entrance into a fermented-milk bar. The PVC curtain confaltes society’s phobia of bacteria with the recent foodie interest in all things fermented.
Extending itself in opposite directions, yet incorporated in one body, the tongue tries to do the splits, to be both platform of communication and means of obfuscation, both secular vehicle and sacred totem.
Soured rule, no mother’s best Curd milk oozing from her breast (English translation of Polish verse)
Skisła władza - zamiast mleka po jej piersiach kefir ścieka
A feminist appropriation of the gerkin, Hammer and Nipple challenges the meme of the pickle as a shorthand for a penis, asking us to reconsider the soured relationship between rulers and public, often characterized as a nourishing one.
In the logo of the 19th century, Vilnius-based literary society Towarzystwo Szubrawców (Society of Rascals), whom the artists turned to for their eponymously title show at Raster Gallery, the shovel is used to parody the parasitism of the nobility who rides it like a witch. The Towarzystwo Szubrawców ridiculed the fancy language of Polish 19th century romanticism through its journal Wiadomości Brukowe . Pavement Prose reimagines the piece as a languid bar-table, where tongues let loose and proverbial skeletons of history are excavated.
An obscene hand gesture specific to Turkic and Slavic cultures, Figa revisits the old Egyptian proverb: “Life is like a cucumber: one day in your hand and one day in your ass.”
A transnational root indigenous to Eastern Europe and Western Asia, the horseradish best exemplifies the push and pull, the attraction and repulsion necessary to reconsider and move beyond the reductive and confrontational thinking of our age. Railing against binaries, Pan Chrzan – a two headed anthropomorphic horseradish and mascot of the artist’s Pickle Poitics cycle – features a tail which speaks to its head, perverting the dualism of Enlightenment thinking.
The cycle R é gions d’êtr e spans the unwieldy geographical remit of Slavs and Tatars – between the former Berlin Wall and the Great Wall of China – while also serving as a prequel to the collective’s practice. Régions d’être is the collective’s term for an area that falls between the cracks of history and general knowledge: largely Muslim but not the Middle East, largely Russian speaking but not Russia, and having a complex relationship with the nation. Yet rather than representing a specific value, history or culture, this ‘region of being’ is as much an imagined, poetic geography as it is a real, political and historical geopolitics.
Taking the form of an oversized inflatable water boiler, teapot and serving tray lodged into the side of the Hayward Gallery, the sculpture is titled after the eponymous tea brewer commonly found across Central Asia.
A Russian invention of the mid-18th century, samovars are used today across Eastern Europe, the Middle East and some parts of Asia, in both domestic and communal settings.
Although humorously enlarged like a mascot or parade float, Slavs and Tatars’ installation uses the samovar as an emblem to recount the ways in which the history of tea is intertwined with cross-cultural exchange and colonialism.
By creating a monumental symbol of a celebrated and long-established tea culture, the artwork questions the role of tea in British history, tradition and popular culture.
A pocket mirror doubles as a chair in Hi, Brow!: a social sculpture and performance providing visitors the chance to receive a monobrow courtesy of a beautician.
Slavs and Tatars’ work often mixes registers of high and low, high-brow ideologies and low-brow media (pickles to balloons). In that vein, roasted sunflower seeds are a staple snack, shared across the Slavic-Turkic peoples from Eastern Europe to Central Asia. Like the wheat of Wheat Mollah , the sunflower seed becomes a symbol of proletariat or rather, its 21st century sucessor, the précariat .
Characteristic of the artists’ interest in coincidentia oppositorum (the coincidence of opposites) equally as a strategy as subject matter, Hamdami explores the conspiration of the sensual and spiritual.
The takht (bed, or what we call a ‘RiverBed’ in honour of its ideal location by a source of water), the vernacular structure found at teahouses, roadside kiosks, shrines, entrances to mosques and restaurants across Iran and Central Asia, accommodates a group of roughly four or five people without the unfortunate and unspoken delineation of individual space dictated by the chair. Friends, families, and colleagues sit, smoke shisha, sip tea, eat lunch, take naps, and create – however momentarily – a sense of public space, all the more remarkable in countries where public space is circumscribed, such as Iran.
The book is central to Slavs and Tatars’ practice. In addition to an extensive publishing practice, the artists create spaces, sculptures, lecture-performances, installations and audio works all of which ostensibly bring us back to the book. For most of its history, though, reading has been a collective practice, not a private one. You could say the private or individual book as such is really only about 150 years old. Slavs and Tatars are committed to re-activating the idea of collective reading: not necessarily in the lteral sense of reading together, but rather in an attempt to create a multiple subjectivity, to read as a body of multiples. Above is a selection of various reading spaces within their exhibitions.
A traditional kebab skewer pierces through a selection of Slavs and Tatars’ books, suggesting not only an analytical but also an affective and digestive relationship to text. The mashed-up reading list proposes a lateral or transversal approach to knowledge, an attempt to combine the depth of the more traditionally-inclined vertical forms of knowledge with the range of the horizontal.
A genealogy of a given city’s name changes, the result of rising or falling empires, states, and/or populations. Some cities divulge a resolutely Asian or Muslim heritage, so often forgotten in some citizens’ quest, at all costs, for a European, Christian identity. Others vacillate almost painfully, and others with numbing repetition, entire metropolises caught like children in the spiteful back and forth of a custody battle. Like much of Slavs and Tatars’ work, Love Me Love Me Not was first conceived as a book, a compilation of 150 such city names.
A collision of the sacred and the profane – the rahlé , the traditional book stand used for holy books, and the takht (or river-bed), vernacular seating areas used in tea-salons – PrayWay is part installation, part sculpture, part seating area, and all polemical platform.
Often depicted riding backwards on his donkey, Nasreddin is a transnational folk figure found in different guises and under various names from Morocco to Croatia, Sudan to China. Using first-degree humour to question issues of morality and ethics, he has become a retro-active mascot of sorts for Slavs and Tatars. In Molla Nasreddin the antimodern the artists have given the old dervish a bounce to his step and made extra room for a sidekick. Children hold on tight to Hodja’s portly belly as this Sufi super-hero faces the past but trots into the future, cutting a profile of an anti-modern figure.
Whether it’s gender politics as geo-politics, migrant labor, or jadidism, to name a few, Nations employ bawdy humour and deliberate one-liners to deliver ice-breakers of unassuming density.
“Despite their specifically-defined geographical remit, and commitment to this particular region, in some ways ‘Eurasia’ (the continental span that includes Asia, the Middle East, and Europe) is a foil: allowing viewers and audiences to consider their own relationships to more general questions of belonging, foreignness, citizenry, and to the multiple subjectivities that dwell, rightfully yet often with conflict, within any single place. This characteristic attention and care, deployed with humour, is tied to the collective’s transregional perspective: their understanding that any single place or person is in fact made up of many, and that the specific bleeds into the general. If the region of Eurasia is a deliberately broad net to cast, then without any instrumentalization, Slavs and Tatars find, accumulate, and re-present bodies of knowledge and material histories that can seem (to some) minute, niche, and arcane. This characteristic straddling of materiality and ideology, history and belief, the particular and the absolute” is a tension maintained within the jungle-gym of Régions d’être .
Excerpt from Slavs and Tatars , ed. by Pablo Larios, published by König Books, 2017
A deliberate slippage of terminology allows for a moment that is equally commemorative and confused. Coins are offered, not for beggars, but for believers as is often found strewn across icons of Orthodox Christianity. If modernity is the totalizing project of the 20th century, one that doesn’t allow for failure, one where expediency t
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