Screening of Global Congress of Post-Prostitution and the discussion “On Global Art’s Promiscuous Real”

Date

From 15 December 2020

Schedule

19:00–21:00
Screening of Global Congress of Post-Prostitution and the discussion “On Global Art’s Promiscuous Real”Screening of Global Congress of Post-Prostitution and the discussion “On Global Art’s Promiscuous Real”

DESCRIPTION

Global Congress of Post-Prostitution (58’) is a “black” comedy written by Keti Chukhrov and staged by Guram Matskhonashvili, which premiered at the festival  Steirischer Herbst in Graz in September 2019 (curators Ekaterina Degot, Dominik Müller). It is performed in English.

The play evolves in the city of Zugdidi (western Georgia) in the form of an International Mock Congress on “post-prostitution” as a fictitious field of study. It exposes various forms of domination (including sexual ) by the geopolitically superior over the inferior.

The inhabitants of this small, impoverished post-Soviet town hope to give upgrade their lives by engaging with the most advanced contemporary theory and inviting its hottest Western stars. The play takes aim at the absurdly pretentious philosophizing and patronizing tone of the global art-theory stars, revealing the obscene, cruel, and violent backstage behind the emancipatory aspirations of the intellectual elite. The sarcastic mock conference takes a dangerous turn when its characters exploit one another in a way that is only possible in a world where prostitution is everywhere.

The discussion will explore the dark backstage of the emancipatory discourse and global art’s promiscuous Real. It will touch upon the reasons why the play disturbed people from the art world, revealing the things no one previously dared say. The speakers will discuss how high-flown emancipatory theories clash with local post-Soviet interpretations. And why progressive aspirations to attract the periphery into the global context end up trampling local dignity. Is it truly emancipatory to label the squalid forms of sex work as liberating? And why does contemporary progressive theory so often glorify modes of work with so many atrocious underpinnings?

The discussion will feature author of the play Keti Chukhrov, philosopher and theorist of psychoanalysis Aaron Schuster, art theorist and political thinker Angela Dimitrakaki and art historian and psychoanalyst Gleb Napreenko. Moderator: Ekaterina Inozemtseva is a senior curator at Garage Museum of Contemporary Art. 

Director: Guram Matskhonashvili

Stage design and choreography: Lana Kavrelishvili

Assistant Director: Lasha Shanidze

Performers: Beka Goderdzishvili, Paata Inauri, Nato Kakhidze, Keti Khitiri, Nino Koridze, Irakli Kvergelidze, Nata Murvanidze, and Niara Tchitchinadze

Montage and subtitles: Adel Mohaghegh

Translation of text excerpts from Russian to English: Ainsley Morse

ABOUT THE PARTICIPANTS

Keti Chukhrov is ScD in philosophy and an associate professor at the School of Philosophy and Сultural Studies at the Higher School of Economics, Moscow.  From 2017 to 2019 she was a Marie Sklodowska Curie fellow at Wolverhampton University, UK. From 2012 to 2017 she was head of the Theory and Research Department  at the National Center for Contemporary Arts, Moscow. Her books include: Practicing the Good. Desire and Boredom in Soviet Socialism (University of Minnesota Press, 2020), To Be—To Perform. ‘Theatre’ in Philosophic Critique of Art (European University, 2011),  Pound &£ (Logos, 1999), and a volume of dramatic writing, Merely Humans (2010). She authored the video plays Afghan-Kuzminki (2013), Love-Machines (2013), Communion (2016), which were featured at the Bergen Assembly (2013), The Specters of Communism (James Gallery, New York, 2015), Ljubljana Triennial U-3 (2016), etc. Her latest play, Global Congress of Post-Prostitution, premiered at the Steirischer Herbst festival, Graz (2019).


Angela Dimitrakaki is an art historian (University of Edinburgh) researching gender and class politics in the 20th and 21st centuries. She is also an award-winning fiction writer whose novels and short stories, in her native Greek, explore the conditions of subjectivity in contemporary global landscapes (http://ersilialit.com/cms/author/angela-dimitrakaki). She lives in Edinburgh and Athens. Angela is an Editor of Third Text and Corresponding Editor of Historical Materialism: Research in Critical Marxist Theory.


Gleb Napreenko is a Lacanian psychoanalyst associated with the World Association of Psychoanalysis, an ex-art critic and theorist, and co-author (with Alexandra Novozhenova) of the award-winning book Episodes of Modernism, which explores the different versions of modernism in Russian and Soviet art history. He lives and works in Moscow.


Aaron Schuster is a philosopher and writer who lives in Amsterdam. He is a senior research advisor at the VAC Foundation, Moscow, and was previously a guest professor at the University of Chicago and a fellow at Cornell University. He is the author of The Trouble with Pleasure: Deleuze and Psychoanalysis (MIT Press, 2016) and co-author of Sovereignty, Inc.: Three Inquiries in Politics and Enjoyment (University of Chicago Press, 2020). Next year he will publish How to Research Like a Dog: Kafka's New Science (MIT Press) and Spasm: Theater and the Philosophy of Tickling (Cabinet Books).


Ekaterina Inozemtseva is a senior curator at Garage Museum of Contemporary Art. She graduated in Philology from Moscow State University in 2004 and subsequently obtained her Candidate’s Degree in Philology there in 2007. From 2003 to 2004, she worked in the Department of Experimental Programs at the National Center for Contemporary Arts. From 2004 to 2005, she was a curator at Gary Tatintsian Gallery (Moscow) and from 2006 to 2011 a curator and deputy art director at Proun Gallery (Moscow). From 2011 to 2014 she was chief curator and deputy director at Multimedia Art Museum, Moscow, where she curated over fifty projects. Inozemtseva has been a curator at Garage since 2014 and a senior curator since 2017. She has written for exhibition catalogues and art periodicals and was awarded Kariatida Prize in 2013.

HOW TO TAKE PART

The event will take place online.
The broadcast will be available on YouTube.

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