Can you hear the sirens moan at Snehta Residency

Updated: Mar 25, 2020

Can you hear the sirens moan* Snehta Residency presents the group show "can you hear the sirens moan" with Anat Propper Goldenberg, to kosie and Peter Max Lawrence and curated by Ioanna Gerakidi. The exhibition will be accompanied by a series of performances and readings by the artists. For more information about the acts that will be taking place in various locations in Kypseli scroll down. ~ can you hear the sirens moan "Intersectionality is a lens through which you can see where power comes and collides, where it interlocks and intersects". Kimberlé Crenshaw "can you hear the sirens moan" is a group show looking with and thinking across schemas of intersectionality as a means for reaching otherness, for transforming, altering, acting and interacting with our surroundings. It is an exposition of what resides, or is being considered as, unheard, unintelligible, a-rhythmic. It’s a collection of traces, remnants and ruins of various processes of labour, of reminiscences often neglected, dismissed, stigmatized. The exhibition aims on exploring the voice of these inherent qualities of the artwork, on forming through their time and space, when the works are in a fragile state of becoming. It draws on different subjectivities, positions, nationalities, histories to talk about the syntaxes and automations of the art system through disrupting the finalized, fixated form. The artworks as concrete (non)-objects, theses and systems, are being replaced by a composition of materials, liquids, words, failures and successes, experiments. Emily Roysdon reframes theoretical concepts of intersectionality when talking about Ecstatic Resistance. She writes that “Ecstatic resistance develops a positionality of the impossible as a viable and creative subjectivity that inverts the vernacular of power”. The traces of the works exhibited try to touch and be touched by this impossibility. They act as intersessors participating in art’s systemic frameworks, whilst longing for their change. They let personal narratives and collective ethnographies to exist otherwise, they re-arrange institutional terms, re-invent time structures. They re-act morphing a current with their willful presence, creating a stage for being together, for exchanging sentiments, knowledges, attitudes, performing selves, wounds, breaths, kisses. Nataša Petrešin-Bachelez traces intersectionality as a methodology on “how to resist from within oppressive systems, such as the art market, the institutional art world, the cycle of fame”. "can you hear the sirens moan" becomes a haptic animation of such a thesis, espousing its politics and poethics, borrowing a term from Denise Ferreira da Silva's theory, for its materialization. "can you hear the sirens moan" is an exhibition striving for