Kanak Censor vs. Gegen Die Bridge

2/5BZ video work “Gegen Die Bridge” (No Integration No Exotic) addresses the bridges of “gasionalism” and its reflections on the economical, political and cultural pipeline activities.

The screening of “Gegen die Bridge” ( http://youtu.be/GqDSyzGcn9g ) was censored by Nanna Heidenreich (Kanak Attak) in 2004 during their collaboration with 2/5BZ as solo performing multimedia artist,
whom they wished to invite only as an exotic “kanak” element in the event. The showing of the video, which was a short part of the event, was aimed to be prevented under no circumstances by senior managers who determined the concept of the event in a “stakeholding” position, apparently from a new perspective of unilateral collaboration.

However the censorship attempt was not successful and was also shown in events including 90 cities and 19 countries in Europe, N. America and Asia.

this 2/5BZ Gegen Die Bridge (No Integration No Exotic) video can also be seen as feedback to all social organizations, which use the oppositionism as foot note jewelry inflict the costs of neo-libaralism on new autonomous tribes within the dialogue and bridge building fetishism, trimmed with neo-liberal golden age fascism and its insidious identity politics, arisen from 80’s and revealed after 2000’s on .


” Conceptualizations elaborated with severe academic references have a certain side/effect, which can be seen both as waste of time and as a way leading human mind to other governance forms. Instead of an exaggerated academic jargon or a privileged frame of references, it is more accurate to organize the opposition with a relatively simple language. Often, this academic jargon and its production as an upper reference frame functions not particularly different than what I mentioned as the manipulation/efface of opposition’s custom or covering its traces. It is necessary not to be one of those confused, literate-ignorants, who constantly misses the gist of the matter while going through the mill of the school, loose money and time, helplessly chases the form of elegant allusions in the name of the opposition. ”

taken from the interview with serhat koksal appeared in the master thesis “muhalif sanat / dissident art ” (14.2.2012, University of Kocaeli) and (Bir+Bir dergisi, 4.2013, No: 21)

” ağır akademik referanslarla süslü kavramsallaştırmaların insana hem vakit kaybettiren hem de insanın zihnini başka iktidar biçimlerine bağlayan bir tarafı var. Muhalefeti, seçkin bir akademik dil, seçkin bir referans çerçevesi peşine düşmeden, basit bir dille yapmak daha doğru. Çoğu zaman bu akademik dil ve bu akademik dilin bir üst referans çerçevesi olarak üretilmesi, bahsettiğim muhalefet geleneğinin manipülasyonundan /unutturulmasından, bu muhalefet geleneğinin bıraktığı izin üstünün örtülmesinden çok da farklı birşey değil. Meselenin özünü kaçırıp, biçimin ve şık göndermelerin peşine düşen, bunu da muhalefet etme adına yapan, okulun rendesinden parası ve vakti çalınarak geçmiş, aklı karışık okumuş-cahillerden olmamak lazım. ”