Anat Propper Goldenberg, Keti Ortoidze, to kosie‘CAN YOU HEAR THE SIRENS MOAN’, 2018

Snehta Residency presents the group show can you hear the sirens moan with Anat Propper Goldenberg, to kosie and Keti Ortoidze 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.
“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 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 and remnants 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 intends to disrupt the syntaxes and automations of the art system through rejecting 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 experiments.

Emily Roysdon reframes the 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 histories 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 a politicization of the idiolect.
*the title is borrowed from “Don’t Let It Bring You Down”, a song by Neil Young. Curator | Ioanna Gerakidi
With the support of Outset Greece.