Too Many Artists

Intelligence Party

The last workers movement against AI automation.
The Intelligence Party  celebrates human stupidity, anti-intellectualism and replacement anxiety.

Artificial

   stupidity will

never supersede

  human stupidity.



Russebuss to Brussels

The Intelligence party showed up in Brussels for the EU election.

This was a precursor to the coming campaign in Oslo in September 2019.

Information will be updated here: intelligenspartiet.no

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The Intelligence Party

 

“With Lars Cuzner’s project “The Intelligence Party”, 2018, they finally arrived at the topicality, because Lars Cuzner has set up a fictional party here with which he moves in Graz as if he were on an election campaign tour. Tirelessly, the committed artist introduces the program of his “Intelligence Party”, a party that on the one hand demands the humanist demand for a right to vote for foreigners, and on the other hand supports this demand with right-wing arguments, such as true love of the homeland. The paradox seems hardly to go – and yet: in talks around post-colonialism, for example, “nationalism as a legitimate anti-colonial resistance movement” (Varela / Dhawan) is repeatedly discussed. The fact that steirischer herbst artistically discusses contradictions like these in various forms, is exactly what makes it so necessary this year.”

artmagazine

All across Europe, the right fears what they call “the Great Replacement,” where eroding European values supposedly cannot hold up to Islamic fundamentalism… and worse. The Intelligence Party, initiated by artist and activist Lars Cuzner, has a proposal to assuage these fears. Founded in Norway, the Intelligence Party is named after one of that country’s oldest political parties, which was led by romantic poet Johan Sebastian Welhaven in the 1830s. Today this party is reborn and appeals to cultural protectionists across Europe to enshrine the most important right of all: the right to vote. The universality of this right and its constant expansion is the most quintessentially European value of all, the Intelligence Party argues, and it should therefore be extended to non-citizen residents, regardless of where they come from. The party’s thinking goes that universal participation in elections would reveal more commonalities than expected between European and non-European residents, who might, it would turn out, share with conservative electorates a concern for family values, religious freedom, and the protection of cultural identity. That, at least, would stop any fundamentalist insurgency in its tracks, so the Intelligence Party proclaims. After spreading the party’s message in Norway and several other European countries, online, and in rousing public discussions, Cuzner now turns to Austria and Graz. Paradoxically injecting a left-wing demand into a right-wing agenda and presenting it to an undecided electorate, Cuzner and his party question today’s hackneyed notions of politics as well as the truth-procedures used to reach them.

You can read Lars Cuzner’s text “The Great Replacement” in this book.

https://www.hatjecantz.de/volksfronten-popular-fronts-7542-1.html

190521_Volksfronten Publikation_web001_4

“More absurdly, this technique is used by the artist Lars Cuzner in the project Intelligence Party – the conservative traditionalist party, in which the artist nominates his candidacy for the European Parliament. Here is the image of the artist: Lars, with a lush red beard, in a woolen three-piece suit, with a cane, comes out of a shiny white old fashion car to talk with voters and hand out caps with official symbols, slogans in the spirit of “I understand white people” or “All women are stupid” and the election campaign demanding universal suffrage.”
Aroundart.org

Intelligenspartiet

We are going to vote illegally.
We are going to create new statistics.
We are going to change the narrative in the coming elections.
Who can vote illegally?
Non-citizens
Under voting age
Non-EU member countries
The original Intelligence Party from the 1830’s was headed by the poet J.S. Welhaven. His adversary was the poet H. Wergeland who headed The Patriots. These were the progenitors to Norway’s two first parliamentary parties, Intelligenspartiet became Høyre (The Right) and Patriotene became Venstre (The Left). They are both still in government today.
The two poets conducted a cultural political battle about the future of the Norwegian culture; do we need nationalist protectionism or do we need internationalist influence?
These questions have once again become the focus of elections in Europe.

Hvit mann proklamerer «I understand white people» i mangfoldig strøk. Kunst eller propaganda?

 

 

 

Milk Pipeline

An oil pipeline transporting milk from Norway to Russia.

Pipe-at-factory

The oil pipeline exiting the dairy factory

FOOLPROOF FEELINGS, July 15, 2017

Arsenal, The National Center for Contemporary Art

Nizhny Novgorod, Russia

Artists: Yuriy Albert, Arman, Antonina Baever, Alexander Brodsky, Natalya Goncharova, Lise Dechen, Anya Zhelud, Junichiro Ishii, Lars Cuzner and Cassius Fadlabi, Natta Konysheva, Irina Korina, Cristian Krohn, Eileen Quinlan, Anna Lyalina, Paul McCartney, Matthieu Martin, Yasumasa Morimura, Tatyana Nasipova, Natalya Nesterova, Alexander Povzner, Dmitry Tugarinov, James Welling, Robert Falk, Jonas Čeponis, Cindy Sherman, Ilya Kitup, ZIP Artgroup.

MILK PIPELINE by Cuzner and Fadlabi

Milk running through an oil pipeline from Tana in Northern Norway to the National Center for Contemporary Art in Nizhny Novgorod, Russia.

The Milk Pipeline-Milk Bar that opened July 15th started a couple of years ago when Valentin Diaconov invited me and Fadlabi to exhibit Scandinavian social democracy in the National Centre for Contemporary Art, inside the Kremlin, in Nizhny Novgorod, Russia.

It’s a long story, however, we ended up having to send a shipping container filled with Norwegian milk to the Art Centre in Russia. Here’s part of that story.

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Originally, our suggestion was to export Norwegian milk to Russia via an oil pipeline (real pipes that Statoil provided us with) ending up at a milk bar in the art centre, referring to the 1930’s milk propaganda milk-bars in Sweden. Milk was at the time going through some major advanceus allowing everyone in the country to drink the exact same milk with the exact same taste and quality. The country was also in the process of adopting the new welfare state and milk would conveniently be used as the perfect representative symbol for the new system. The whole country could be unified, strong, healthy and, in the prime of scientific racism, white (something Sweden was one of the world leaders of at the time).

Now, we are not living in Sweden and our pipeline was to begin in our newly adopted country, Norway, Sweden also doesn’t share a border with Russia, Norway does. Norway was at the time of the milk propaganda era primarily concentrating its milk production for export purposes, and for a while, it was a strong export industry for Norway. But then came the oil. Even though fossil fuels is the Norwegian export product de jour, there is another export industry that Scandinavians excel at – the export of moral and ethical values based on its own perception of developmental superiority. So milk, marketed as an extension of the Scandinavian identity to this day, would still fit the bill. It is however illegal to export milk to Russia. An embargo that started in 2015. With all the arts money being thrown at the arctic regions right now the support as an art project was still feasible. There is a reason for this of course, white washing has turned into art washing. Statoil would, at the exact same time of our installation, be commencing the process of helping Russia and the USA with its oil explorations in the Arctic. In fact, they can’t do it without Norway’s help. However problematic this may sound, there was no cause for concern, because this whole project was understood as satire, and everyone knows that there is no weaker form of critique than satire. So we kept working.

The pipeline was very close to being realized, really fucking close actually. Statoil told us they would lend us real oil pipes for free, Tine Milk gave us permission to install the pipes at their dairy factory in Northern Norway, the National Art Centre in Russia was preparing on their en (at no small risk to the centre) and an award winning Danish/Norwegian film team was waiting for the green light. It would be one of the most ambitious art projects Norway had ever seen, and we had most of the puzzle pieces on the table.

And then someone fucked up.

An application was sent to Kulturrådet outlining what we had put together. All we needed was NOK 400 000 Kr. to transport and install the pipes on the Norwegian side of the border. This was where the snow ball effect of public funding in Norway starts, there really is no other option in big non-commercial endeavours. After that, other financiers would get on board. It’s how this profession works, and it’s not public art funding administrators job to blockade projects with support, momentum and high ambitions. In that sense their job is quite easy. That is, unless they get scared of course.

Shortly after Kulturrådets verdict to not support this project, I was contacted by Statoil (curious about the timing of this). They demanded that all logos and references of them ever having been in support of this project be erased from all documents and Internet!? Well fuck that, the logo Statoil paid millions for they can keep, but the history is ours to use as we please. Statoil is like Kulturrådet in the way that they would like to deal with critique. They claim that they welcome it, they even do silly little projects to find it, but that is just how they control it. It’s a dirty little game that raises a lot of suspicions.

But there is still a chance to finalise the installation of the pipes. Please contact Lars Cuzner for information. +47 41398393, x@larscuzner.com

 

pipeline-

Our project is a collaboration with Valentin Diaconov (Russia), the National Centre for Contemporary Art (Russia) and Henrik Underbjerg of Stray Dog Productions (Denmark). This is an export of the Scandinavian nature and values, transferred and delivered via pipeline from Norway to Russia. The milk will arrive at a milk bar and served to visitors at the exhibition FOOLPROOF FEELINGS at Arsenal in Nizhny Novgorod.

 

Pipe-in-Forest-2

The milk pipeline running through the forest

 

Picture1A project about the objectification of national identities through subsidised consumption. Subsidised milk bars. Milk entered mass consumption as the symbol for the new welfare state, a new kind of homogenised and easily digestible socialism.

 

 

Pipe-at-museum

The pipe entering Arsenal, The National Center for Contemporary Art in Nizhny Novgorod

 

The focal point of the exhibition will be the space of the bar, a relatively new type of location for interpersonal exchange in the context of Post-Soviet Russia. Capitalist production makes us constantly choose and purchase identities, and the space of the bar is one of the most important sites for that process, at once inviting and impersonal. So, a lot of pieces in the show will reference the rituals of meeting and conversing. The art will serve as an objectification or unmasking of the unregulated emotional, friendly or hostile exchanges that make up the social communion. Other artworks will address various states of social policy that regulates exchange – the Socialist past, the capitalist present and the plans for a fairer future.

 

European Attraction Limited

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Reconstruction Kongolandsbyen1914 Kongolandsbyen 2014 Norwegian wood Kongolandsbyen 2014 Village Pre opening kongolandsbyen_4

The human zoo, Kongolandsbyen, originally created in 1914 by the entertainment company European Attraction Limited, was rebuilt 100 years later by Fadlabi and Lars Cuzner.

Centred around the make up and build up of Scandinavian style superiority, it was a project that was done with a very literal reading of what the public is. During several years created in, and in large part, by the public, whatever direction that would take.

100%

Since most of you who are reading this and most of you who will see this piece of shit show also make unnecessary and useless art I might as well get right to it. At the time of writing this text I have no idea what this show will consist of or be about, but rest assure it will be an extraordinary aesthetic experience delivered by exceptional objects. Or not. Who cares? Probably not actually. I just found out that I am doing this show and it has to be ready in one week. Not only that, but the text has to be ready tonight. And it’s not like I have a studio filled with brilliant artworks just waiting to be exposed. In any case, your expectations are most likely unproportionately low or unproportionately high.

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Opening One Night Only Gallery Department of culture office Installed in gallery

 

What is it about? Take your pick. It’s either about some psychological oddity that I read about in Cabinet magazine or some historical-political-unresolvedness-whatever, it could even be about the commodification of immateriality, like credibility or religion. I could go for any one of those and be super happy with myself. I might even go so far as to say that it’s about the fucking art scene, pretend to be all bitter and all knowing, citing bought critics and art world philosophers who shrewdly point out that the anti-market art rhetoric only obliges to soften the image of the market it slavishly serves. All the while I will secretly be hoping that this position of quasi badass-ness lands me some commercial success. Which it probably would have if I hadn’t ended with – “Which it probably would have if I hadn’t ended with”.

“Lars is a parasite that doesn’t actually do anything himself but gets noticed because he never leaves the party…”

from “Lars Cuzner’s Conversational Ghosts” by Kjetil Røed, 2014

Whatever Kjetil! The whole premise for this critique is based on something I supposedly said at some early morning after party. And saying that I don’t do anything myself is low – what do critics do if not exactly nothing themselves? Granted, bringing this up in a text for an exhibition might seem misplaced, but so is publishing personal attacks that rather than addressing the work simply critiques the lack thereof (and it’s not the first time he does this to me either). Just focus on the work, ok?

Sure, I didn’t paint the painting; it’s by Leonard Rickhard and belongs to the Department of Cultural Affairs, as does the furniture. But I still had to do things myself to get it over here. Among other things, the wall colour had to match and it all had to be transported. Well, actually, I got lucky with the wall colour, they still had a bucket of the same paint at their office, and to be fair, Cultural Affairs did cover the whole transportation bit themselves, but that’s only because the work is very valuable and has to be transported with official Fine Art movers.

 

 

 

Forensics of Attraction

In their ongoing project European Attraction Limited, Lars Cuzner and Fadlabi present Forensics of Attraction (2013). It is part in their research into the phenomenon of the “human zoo” in European and particularly Norwegian history. For Bergen Assembly, as part of their research they made, as they put it, “a pointless trip to Thailand” to find evidence on the so-called Long-Necked Tribes, the Paduang (aka Kayan) women, who, since the 1980s, have been displaced to ethnic villages built for tourists, which generate massive revenue and have become the raison d’etre of the Thai state. Using the device of “conspirative narrative,” Cuzner and Fadlabi are exposing mechanisms of the spectacle and the complicity it coerces from its viewers.

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Face in hole photo op - village entrance Installation view Outside room Souvenir table Bergen Assembly 2013 – An Initiative for Art and Research, Bergen, Norway Installation research video Installation research map Installation research lamp Detail research Detail research flourescent
“(…) Ours is an age of animal uprisings and imaginary nations of vagabond cats, soy republics, seed vaults, and human zoos—a fluid world under constant surveillance. The future is disappearing, a dream from the past, once a function of love and the lack thereof, now the domain of the ultra-rich. Everything turns to air and water, except those strange footprints in stone. (…)”

en.bergenassembly.no

 

Christian Sleep Over

My neighbours changed their wi-fi network name to STOP PLAYING SHITTY PIANO (in upper case). This was clearly directed at me since I’m pretty sure I’m the only one in the building who demonstratively can’t play the piano. But I persisted, feeling that I had been called upon through some divine intervention to learn contemporary Christian pop songs from Mega Chords. Mega Chords has the latest in Christian pop and rock, no doubt because religion is bigger today than ever.

This unprecedented emergence of religion in our times can also be detected in the vast amounts of nothing-believers who also doubt truth in evidence. Finding it hard to identify a Messiah for this nothingness you find yourself accepting conservative values inside structures that romanticize meaninglessness. This rejection of meaning is unsettling for you, and your fundamentalist belief in non-fundamentalism has you demanding revelations and importance only from that which you recognize as unimportant, something you feel is banal enough to escape purpose – like a Star Trek movie – where Spock recently re-popularized the phrase – “When you eliminate the impossible, whatever remains, however improbable, must be the truth.” (which Trekkies will tell you comes from Sherlock Holmes, and Sherlockians will tell you comes from some other origin, but I don’t really feel like sitting here googling forever about things that only reinforce your thirst for post-purpose purpose).

As part of the curated residency program at 0047 during the summer we invite you to first resident initiated event.The Residency is mobilized by Goro Tronsmo and Kine LillestrømContruction0047