INPUT
Elena Bajo ‘No
Power for Nobody’
Film-Sculpture, Installation View

(1) Elena Bajo ‘No Power for Nobody’ Film-Sculpture, 16mm film projector enclosed inside a found old glass vitrine placed in a hallway. Installation View, 16mm color film, loop 2min 32secs, film depicting a Berlin bear walking in circles and backwards, Kunstlerhaus Bethanien, Berlin, 2008


Elena Bajo ‘No
Power for Nobody’
Film-Sculpture, Detail View

(2) Elena Bajo ‘No Power for Nobody’ Film-Sculpture, 16mm film projector enclosed inside a found old glass vitrine placed in a hallway. Installation Detail, 16mm color film, loop 2min 32secs, film depicting a Berlin bear walking in circles and backwards, Kunstlerhaus Bethanien, Berlin, 2008


Public Situations Philosophical Models

Keine Macht für Niemand
(No Power for Nobody), Berlin, 2008

BEAR With BEAR With ME


It was her walking what I heard, and I heard it like a silent Moan, It was her eyes beating, that made me stop, To look, to see more, her circular movement, transformed into a clock Day after day I came back Step after a step run eternal circles without weariness or fainting Time became a cage



DOWN BELOW

The ordinary practitioners of the city live ‘down below’, below thresholds at which visibility begins. They walk – an elementary form of this experience of the city: they are walkers, Wandersmanner, whose bodies follow the thicks and thins of an urban ‘text’ they write without being able to read it. These practitioners make use of spaces that cannot be seen: their knowledge of them is as blind as that of lovers in each other’s arms. The paths that correspod in this intertwining, unrecognized poems in which each body is an element signed by many others, elude legibility. It is as though the practices organizing a city were characterized by their blindness. The networks of this moving, intersecting writings compose a manifold story that has neither author nor spectator, shaped out of fragments of trajectories and alterations of spaces in relation to representations, it remains daily and indefinitely other -Michel de Certeau’s The Practice of Everyday’ Life

VITRUVIUS- THE PRODUCTION OF PLACE, SPACE MARX; THE PRODUCTION OF CAPITAL

In the stock market, a bear market is a period of declining prices. Pessimistic forecasting or negative activity is said to be bearish (due to the stereotypical posture of bears looking downwards)

NOMADOLOGY, NOMADIC RESISTANCE AS production of space
Social space is a social product - the space produced in a certain manner serves as a tool of thought and action. It is not only a means of production but also a means of control, and hence of domination / power. -Henri Lefebvre The Production of Space

BEAR’S CONSPIRACY:

Backwards Walk Last sunday two bears who live in the Bear Pit (Bärenzwinger) in the Koellnische Park started to walk in circles and backwards. After what it seemed an isolated event, similar situations have been reported happening in other cities of the world. Sociologists, scientists and Architects are trying to decipher this mysterious behaviour.

Are bears performing a secret ritual? without any purpose?

Bear Pit (Bärenzwinger)

A bear pit was historically used to display bears, typically for entertainment and especially bearbaiting. The pit area was normally surrounded by a high fence, above which the spectators would look down on the bears. The most traditional form of maintaining bears in captivity is keeping them in pits, although many zoos replaced these by more elaborate and spacious enclosures that attempt to replicate their natural habitats, for the benefit of the animals and the visitors.

Félix Guattari, Pour une refondation des pratiques socials, in Le Monde Diplomatique, October 1992.

The individual and the group cannot avoid a certain existential plunge into chaos. This is already what we do every night when we abandon ourselves to the world of dreams. The main question is what we gain from this plunge: a sense of disaster, or the revelation of new outlines of the possible?

Bruno the bear shot dead in Alps

It’s been since 1835 that anyone in Germany saw a wild living bear. That is, until Bruno the bear, who was unfortunately brutally murdered last year, probably for political reasons.

Interview with Paolo Virno By Héctor Pavón 12- 24-04
http://libcom.org/library/creating-anew-public-sphere-without-the-statepaolo-virno
Héctor Pavón: We live in a new epoch that, as such, needs new values, new concepts. But, who thinks them, who constructs them?


MAN–ANIMAL RELATIONSHIP

When an animal is moved from its own environment into captivity, it must reconstruct a whole new world and this is an enormous task.

The primary effect is the restriction of movement and the secondary effects include lack of diversion and occupation, no food choice, impossibility of avoiding its own species at will, possible unsuitable differentiation of space, anti-social behaviour. (...) so the solution is to reduce the flight distance and so neutralise the animal’s desire to escape. This is possible by taming.

Zoos now often receive animals bred in captivity, whose flight distances are greatly reduced from their wild ancestors.

Notes on some topics in Applied Animal Behaviour
http://www.animalbehaviour.net/JudithKBlackshaw/JKBlackshawCh10.pdf

Elena Bajo is a Spanish visual artist currently living and working between New York, Berlin, LA and Madrid. Her conceptually-generated practice is concerned with the social and political dimensions of everyday actions and common places. She works across installation, performance, participatory events, video and writing. Bajo holds a Masters from Central Saint Martins, London, and a Masters in Architecture from ESARQ, Barcelona. In 2006, she attended Skowhegan School of Painting and Sculpture, Maine. She has recently exhibited in Kunstlerhaus Bethanien, Berlin and Fondazione Ratti, Milan. Future solo exhibit include P.S.1/MoMA, New York.