The Discreet Charm (2011)
Subject: Discreet charm of meta-finance
Date: Mon, 14 Feb 2011 13:36:01 +0000
From: Ismail Ertürk
Dear Simon&Jakob, at the moment I am working on an idea and would like to share it with you. Bankers still make huge bonuses, economy is in decline and the politicians cannot really deal with the problem in the EU, UK and USA. I am thinking of writing something that references Buñuel’s Discreet Charm of Bourgeoisie. I see the current problem in finance as there is »no exit« in sight. Finance has become metafinance resembling »modernist art« where finance is self-referential. Now, I like self-referentialism in art because it has aesthetical and intellectual values. Whereas the authorities still think that finance signifies »real economy« and therefore we have »no exit«. I wonder if you would be interested in exploring these ideas with me for artistic purposes. Basically I would like to bring art history into our understanding of / engagement with present day finance with references to Buñuel, modernist art / literature etc. My academic colleagues, even the most open minded ones, tend to keep away from such engagement with art. But I think there is a good opportunity here to bring art into the discussion of finance in a creative way. What do you think?
Senior Lecturer in Banking
Manchester Business School
Docent i bank och finans
Manchester Business School University of Manchester
+Senneby adapt it to today’s new social oppression: the world of global finance. With as much cruelty and incisiveness as the original filmmaker, they address the economic issues and injustices of recent years. And since they want to make a clear point, they have a lecture take place in the performance to enlighten the audience with some of the very key financial manipulations that have taken place before, during, and after the crisis. But Goldin+Senneby are not activists, they’re artists: hence, the lecturer is a joker – he’s not even a real lecturer, but an actor that performs in front of the viewer. The set that is used during the performance is nothing but a shadow play, an illusion for the spectator. Better than that: the shadow play includes the representation of the audience itself, or at least of their seats. It mirrors the illusion of the performance. On the one hand, the illusion of the actor, on the other, the illusion of the shadow play. You’re there, you’re with them, and at the same time you know this is not really happening. But maybe because the viewer has this Brechtian awareness of the illusion, he is even more keen to understanding the message that is conveyed in the performance: breaking the illusion does not ruin the effect, it actually may make it even stronger.« Donatien Grau
The work of Goldin+Senneby has been supported by Artistic Research and Development funds from the Royal Institute of Art, Stockholm
Biography Simon Goldin born 1981 in Sweden, lives and works in Sweden. Jakob Senneby born 1971 in Sweden, lives and works in Sweden. Goldin+Senneby (since 2004) is a framework for collaboration set up by artists Simon Goldin and Jakob Senneby, that explores juridical, financial and spatial constructs through notions of the performative and the virtual. Solo exhibitions include: The Decapitation of Money, Kadist Art Foundation, Paris (2010); Headless. From the public record, Index, Stockholm (2009); Goldin+Senneby: Headless, The Power Plant, Toronto (2008). Group exhibitions include: The End of Money, Witte de With, Rotterdam (2011); The Moderna Exhibition, Moderna Museet, Stockholm (2010); Uneven Geographies, Nottingham Contemporary (2010); In living contact, 28:th Bienal de Sao Paulo (2008).
Photo: Hendrik Zeitler