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filler@godaddy.com
Signed in as:
filler@godaddy.com
My intellectual and artistic practice is a journey of exploration, aimed at bridging diverse disciplines and perspectives to deepen my understanding of the world. As both a producer of ideas and a cultural practitioner, I navigate the art world through a dual lens—fusing feminist theory, ancestral knowledge, psychology, mysticism, and institutional critique. Grounded in Marx's mature work, my practice critically engages with contemporary capitalism, exploring the commodification of desire, the tension between individual and collective aspirations, and the potential for envisioning alternatives that transcend capitalist structures.
Central to my work is the intersection of art, economy, and law. Through my projects, I examine the ways in which artistic labor is valued, exchanged, and governed, embodying the ideas I write about and culturally organize around. This exploration is woven into my practice, which spans various media—text, image, installation, video, and social media interventions. Each project reflects my commitment to collective production and collaborative networks, challenging entrenched systems of power and reimagining models of exchange that prioritize equity and sustainability.
Feminist theory, ancestral wisdom, and institutional critique intertwine in my work, challenging dominant systems and amplifying marginalized voices. Inspired by feminist movements, I view art as a tool for liberation and empowerment, while drawing on ritual and symbolism to evoke new ways of relating to the world.
My practice delves into the dualities of human experience—individual and collective, public and private, conscious and unconscious—and critically engages with the legal and economic structures that shape the art world. By addressing the complexities of desire, value, and commodification within capitalist frameworks, my work seeks to destabilize entrenched narratives and power structures, opening pathways toward alternative futures and collective growth.
At its core, REFRAMING engages deeply with the legal and economic frameworks governing the arts. By examining the intersection of art, law, and economics, the initiative seeks to establish a collaborative model that promotes mutual support and equitable resource distribution. It challenges existing hierarchies, advocating for a fairer, more inclusive system of cultural production.
Key components of the project include:
Scope BLN
presents
NO Exit: Duality is Overrated
a REFRAMING project by Natalia Ivanova
January 5 – January 23, 2024
Opening: Friday, January 5 at 6:00 p.m.
Natalia Ivanova’s artistic vision transgresses conventional boundaries, fusing visual art, performance, video, sound, and text into a dynamic exploration of duality, desire, and the forces that shape them. In her transmedia project, Duality is Overrated, Ivanova collaborates with artists and cultural producers in Berlin to challenge power structures and rethink the role of intellectual property in a rapidly evolving society.
Inspired by Sartre’s iconic play No Exit, Ivanova’s experiment, NO Exit: Duality is Overrated, brings intellectual property into the spotlight of a provocative drama, exploring the friction between individual aspirations and the collective will. Echoing Sartre’s famous line, “Hell is other people,” she leads audiences to confront the complexities of human relationships and societal pressures, all within the urban performance landscape of Scope BLN’s Project Space and Cinema Room.
Act 1: The Theatre of Law transforms Scope BLN’s Project Space into a stage for active participation. Collaborators from Dadais Americanus Productions, alongside Moabit neighbors, artists, cultural workers, and the public, come together to occupy intellectual property throughout January 2024. Here, Ivanova illuminates the inequities inherent in the capitalist system, particularly for working-class artists. She forges new connections between artist, community, and institution, transforming the space into a living dialogue that dismantles traditional hierarchies, challenges power structures, and redefines our understanding of authority and collaboration.
In Act 2: The Libidinal Economy, held in Scope BLN’s Cinema Room, the focus shifts to the commercialization of artistic labor. Ivanova dismantles the notion that success is defined by finished products, redirecting attention to the processes and labor behind creation. By reframing this perspective, she disrupts established market practices and opens a conversation about the value of intellectual labor, forcing us to question the commodification of art, power, and capital.
With NO Exit: Duality is Overrated, Ivanova invites audiences on a journey that blurs boundaries, fosters introspection, and imagines new possibilities. Her work is a call to rethink our relationships—not only with intellectual property, but with one another, sparking dialogue that leads toward collective liberation. Through her collaborative, multi-media storytelling, Ivanova disrupts the norms of the art economy, carving new paths for shared creativity and ownership.
SCOPE BLN: Lübecker Str. 43, 10559 Berlin, Germany.
All events part of the public program for NO Exit: Duality is Overrated are held at Scope BLN, Lübecker Str. 43, 10559 in Berlin, Germany.
Wednesday, January 17, 2024
19:00 - 21:00
THIS IS HOW YOU MAKE ME FEEL SOMETIMES
Christian Borrelli, Anna Stallone, Barcode People: Qihao Liang and Tong Shu, and Natalia Ivanova
Part environmental protest, part reflection on the consumption of goods and people in late capitalism, This is How You Make Me Feel Sometimes asks us to consider how we discard what, after being used, no longer serves us, without taking responsibility for that relationship. This applies to us as individuals but also, and most importantly, to us as artists, when we feel used by the market, by the system, by the audience, only to be forgotten in a trash bin later.
Friday, January 19th, 2024
19:00 - 21:00
“The Commons: of Friends & Lovers” reading and participatory performance with authors Natalia Ivanova and Marc Herbst
"The Commons: Of Friends & Lovers" was written at a time when possibilities for building open, radical commons out from public space seemed like a memory. That is, it was co-authored over the course of the 2020 to 2021 Covid lockdowns. But the common sensibility shared by the book’s authors, Natalia Ivanova and Marc Herbst, is one of attending to the relations that compose and bind the micro- and macro- politics that determine the fates and ways of individual and common being. Covid seemed to only increase an awareness of the intimate politics of those relations.
Saturday, January 20th, 2024
17:00 - 19:00
Censoring Palestine: Screening and Q&A with Dan Glass, Jad Salfiand Tobias den Haan
Join us for a screening of Censoring Palestine: The Weaponization of Anti-Semitism by Dan Glass, followed by Germany's Palestine Problem, directed byJad Salfiti. A post-screening Q&A with Dan Glass (author, artist, activist) and Tobias den Haan (researcher at the European Legal Support Center) will explore the challenges artists and activists face in standing in solidarity with anti-war movements.
Dan Glass is an author, artist, LGBTQ activist, and ACT UP member influenced by his Holocaust-survivor grandparents. He works with movements like Beautiful Trouble and Training for Transformation, advocating for transformative action and solidarity.
Jad Salfiti
Based in Berlin, Jad Salfiti is a British-Palestinian journalist specializing in the intersection of culture and politics. He frequently contributes video reports to BBC’s Talking Movies and is a host on ARTE Europe Weekly. He has written extensively for a wide range of media, including The Guardian, Financial Times, and Al Jazeera English.
Tobias den Haan
Tobias is based in Berlin and is a Monitoring Project researcher at the European Legal Support Center. The ELSC intervenes to end arbitrary restrictions and criminalisation of advocacy. The Monitoring Project is there to map, track, and raise awareness about the repressive measures used by European governments to impede and criminalise the Palestine solidarity movement.
Sunday, January 21st, 2024
12:00 - 14:00
Connecting the world takes every one of us, 2021
Video with sound, 6 min
As an artist and researcher, Benjamin Gerdes explores the technological infrastructures that shape contemporary communication, mobility, and social life. He highlights the hidden, material foundations behind seemingly immaterial digital processes—like streaming a movie, online shopping, or cashless payments. These activities depend on vast networks of data transmission cables, warehouses, and data centers that often go unnoticed by the public. Gerdes' work exposes the environmental impact of these systems, revealing how they rely on heavy industry with significant spatial and electrical demands. Despite the perception of "cloud" storage as weightless and intangible, the physical infrastructure required to power and store data contributes to 2% of global emissions, a carbon footprint comparable to that of the aviation industry. Through his montages, Gerdes makes visible the environmental burden of our digital lives.
Det är ju alltid ett jättejobb att hålla ihop ett kollektiv ("It is always a hard job keeping a collective together"), 2021
Video with sound, 43 min
From 2016 until 2019, a highly public conflict raged between the Swedish Dockworkers Union and the employer APM Terminals in the Gothenburg container port. From the workers’ perspective, the dispute, which led to a national strike and lockouts in ports across Sweden, was about working conditions and opportunities for influence in the workplace.
In Gerdes’s film, the dockworkers reflect on the conflict two years later, and also on how working in the harbor impacts their relationships with family and friends. In contrast to most of the media reports about the negotiations, Gerdes’s film features the workers’ personal stories. An underlying theme is how the specific conflict illuminates the tension between a local struggle for democracy and justice and the global system and infrastructures that encompass jobs in the harbor through multi-national corporations and flows of goods. --2021 Gothenburg International Biennial of Art
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