The Long Term You Cannot Afford.
ON THE DISTRIBUTION
OF THE TOXIC
At SAVVY Contemporary Plantagenstraße 31 13447 Berlin
At silent green Kulutrquarter (Kuppelhalle) Gerichtstraße 35 13347 Berlin
With Edna Bonhomme, BPoC Environmental and Climate Justice Collective (Imeh Ituen and Rebecca Abena Kennedy-Asante), Yolanda Ariadne Collins, Discard Studies (Alex Zahara and Josh Lepawsky), Abhijan Gupta, Hyoung-Min Kim and Gabriel Galindez Cruz, Jessika Khazrik, Laboratory for Aesthetics and Ecology (Ida Bencke), Liping Ting, Mother the Verb (Ivan “Ivy” Monteiro), Hira Nabi, Hazardous Travels (Ayushi Dhawan, Maximilian Feichtner and Simone Müller), Raqs Media Collective (Shuddhabrata Sengupta), Hulda Rós Gudnadóttir, Matana Roberts, Tomás Saraceno and the Aerocene Foundation, Alexis Shotwell, and Françoise Vergès, among others
"They were slow changes compared to anything that might happen here, but it took a plague to make some of the people realize that things could change."
"Things are changing now, too. Our adults haven't been wiped out by a plague so they're still anchored in the past, waiting for the good old days to come back. But things have changed a lot, and they'll change more. Things are always changing. This is just one of the big jumps instead of the little step-by-step changes that are easier to take. People have changed the climate of the world. Now they're waiting for the old days to come back."
We cordially invite you to the public program of THE LONG TERM YOU CAN NOT AFFORD. ON THE DISTRIBUTION OF THE TOXIC which addresses environmental injustice through the lens of the toxic and the discrimination surrounding its production and circulation, all deeply rooted in historical structures. The Invocations program comprises a series of performances, film screenings, talks and round-table discussions, workshop, and sonic interventions, which bring together artists, writers, academics, activists, filmmakers and musicians involved in this subject.
We aim to question the matrix of shared accountability and find out what possible actions and mobilizations could constitute long term affordability, and lead us not only to reduce production but also to redistribute the painfully unequal presence of the toxic. How can we form interdependent networks of disobedience that stem from a position of listening and care rather than non-egalitarian codependency and reactive sympathy?
The toxic trade-off inherent in exploitative and abusive processes of extraction, production, and disposal lie at the heart of the changing nature of the ecosystems to which we now belong – with millions of metric tons of synthetic materials, pesticides, heavy metals, and chemicals released and circulated every year. Structural inequalities on a global scale permit for some lives to remain relatively untouched by toxic proliferation through systems of “externalisation” (Stephan Lessenich) whilst many reside in high concentrations and lethal exposure on a daily basis out of mere necessity of survival. The new age of toxicity is “a condition that is shared, but unevenly so, and which divides us as much as it binds us” (Michelle Murphy).
The concentration of our collective effort is neither to pick apart and sort into commonsensible categories, nor is it to demonize, point fingers, or catalyze an indigestible sense of paralyzing guilt about the state of the world. Rather, our aim is to open up a space for an artistic and critical registry that encourages us to pause and sense the toxic presences and textures otherwise, to acknowledge and mourn its ongoing victims, and to listen to the movement of its shadows. In so doing, we hope to shift sensibilities away from one of paranoid containment and fear, to an outlook fueled by reflexivity and nuance, and to nurture the act of noticing how actions on the most intimate scale are closely tied to the global – as everywhere is ultimately a here. In a time particularly plagued by simplifications and a desire for purity, it is vital to exhort to fight against the vicious machinations that have led to this current state of affairs and to do all that is possible to escape the deplorable conditions they keep producing: from small everyday actions to spectacular mobilizations, from swift responses to strategic and sustained engagement. At the heart of every move lies the impetus to foster new political subjects, that keep on growing, however painful, deep from the past and into the future.
CURATORS Antonia Alampi, Caroline Ektander
CO-CURATORS Jasmina Al-Qaisi, Kamila Metwaly
ARTISTIC DIRECTOR Bonaventure Soh Bejeng Ndikung
PROJECT TEAM Monilola Ilupeju, António Pedro Mendes, Ola Zielińska
CURATORIAL ASSISTANT Mahnoor Lohdi
MANAGEMENT Lema Sikod
COMMUNICATION Anna Jäger
GRAPHIC DESIGN Elsa Westreicher, Lili Somogyi
Live Stream Boiling Head
THE LONG TERM YOU CANNOT AFFORD. ON THE DISTRIBUTION OF THE TOXIC is the third chapter of our longterm investigation THE INVENTION OF SCIENCE.
The project is funded by Hauptstadtkulturfonds and the Foundation for Arts Initiatives.
Jonas Staal´s new commission redistribute toxicity has been made possible through financial support from the Mondriaan Fund. The contribution by Christian Danielewitz and Anu Ramdas was made possible through the support by the Danish Arts Foundation. He Xiangyu´s participation has been generously supported by White Space Beijing. Abhijan Gupta’s participation in the Invocations program is generously supported by the Goethe-Institut / Max Mueller Bhavan Kolkata. Hira Nabi´s participation is generously supported by the Goethe Institut Pakistan. Hulda Rós Gudnadóttir's new video work has been made possible through a funding from The Visual Arts Fund Iceland. The performance of Matana Roberts has been generously supported by the DAAD Artists-in-Berlin Program. Hyoung-Min Kim and Gabriel Galindez Cruz's performance I Am Not On The Blacklistis presented together with Tanzfabrik Berlin in the frame of OPEN SPACES. It is kindly supported by the Berlin Senate Department for Culture and Europe.
VISUAL Quote: Raqs Media Collective; Bild: Joint Task Force One, Operation Crossroads: the Official Pictorial Record, 1946, p 216; Design: Elsa Westreicher