Just a few moments away from bliss

Thank U society for railroading my ass

by merzedessturmlie

“Thank U society for railroading my ass”

© Merzedes Šturm-Lie


One like Putin

by Louise Lindvall

So Putin won the election again, although rumor has it that he went all cloak-n-dagger tampering with the votes in order to win and that it wasn’t fair play. He may or may not have done this, I couldn’t possibly say. But I wonder if a man with such an extensive and efficient propaganda apparatus would really have to do that…. You know? I mean come on, the man has a black belt in karate [a friend of mine with more of a martial arts know-how pointed out that it’s in fact judo he’s doing, but still, pretty damn macho :)], he has to be a good guy…right?

And a fresher, racier and possibly more subtle (?) campaign ad:

CIA and abstract expressionism

by Robert Brečević

” If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.”

read the full article – link tips by Oscar Guermouche

Pussy Riot, Russian All-Girl Punk Band, Surprises Moscow Cathedral With Performance

by merzedessturmlie

Visitors to Moscow’s Christ the Savior Cathedral today were shocked by a surprise visit from a Russian feminist punk band “Pussy Riot,” whose members eluded security long enough to put on a five-minute performance near the church’s altar, the Moscow Times reports.
“It lasted no more than five minutes and then it was over,” blogger Alexander Kashin told Russian news site “It was right inside the building, in front of the altar. As soon as they started to perform, guards came from all sides, starting to grab them and trying to chase them out by yelling at them.”

But the band is especially confident of the ability of women to effect political change.
“The revolution should be done by women,” one band member, who goes by the name Garazhda, told the paper. “For now, they don’t beat or jail us as much. There’s a deep tradition in Russia of gender and revolution — we’ve had amazing women revolutionaries.” 

“PROPP AGENDA” Performance by Stefano Alex di Puma & Merzedes Sturm-Lie

by merzedessturmlie

performance by
Stefano Alex di Puma & Merzedes Sturm-Lie

@ Supermarket Art Fair 2012, Stockholm, Sweden.

Filmed by Robert Brecevic
Edited by Merzedes Sturm-Lie

Appearances by:
Denis Romanovski

The emptiness of an art separated from politics

by merzedessturmlie

Report on the Construction of Situations

I. Revolutionary movement

First, we believe that the world must be changed. We desire the most liberatory possible change of the society and the life in which we find ourselves confined. We know that such change is possible by means of pertinent actions.

During the May 1968 general strike, the Situationists, against the unions and the Communist Party that were starting to side with the de Gaulle government to contain the revolt, called for the formation of workers’ councils to take control of the factories, expelling union leaders and left-wing bureaucrats, in order to keep the power in the hands of the workers with direct democracy.

II. The imbecilization of young people in families and schools

The imbecilization that young people undergo within their families and schools, has then a natural continuation in the “deliberately anticultural production” of novels, films, et cetera, conducted with the means of large-scale industry.

The spectacle as a whole is nothing other than […] the gap between the visions, tastes, refusals and projects that previously characterized this youth and the way it has advanced into ordinary life.
Guy Debord

III. Official culture and the trivialization and sterilization of the subversive

For Debord, official culture is a “rigged game”, where conservative powers forbid subversive ideas to have direct access to the public discourse, and where such ideas are integrated only after been trivialized and sterilized.

Debord discusses the close link between revolution and culture and everyday life, and the reason why conservative powers are interested in forbidding them “any direct access to the rigged game of official culture.” Debord recalls that worldwide revolutionary movements that emerged during the 1920s were followed by “an ebbing of the movements that had tried to advance a liberatory new attitude in culture and everyday life,” and that such movements were brought to a “complete social isolation.”

VI. Emptiness of an art separated from politics

Historically, revolutionary ideas have emerged first among artists and intellectuals. For this reason, artists and intellectuals are relegated into specialized, compartmentalized disciplines, defusing their revolutionary potential and imposing unnatural dichotomies such as the “separation of art from politics”. Once artistic-intellectual works are separated from current events and from a comprehensive critique of society, they are sterilized and can be safely integrated into the official culture and the public discourse, where they can add new flavors to old dominant ideas and play the role of a gear wheel in the mechanism of the society of the spectacle.

One of the contradictions of the bourgeoisie […] is that while it respects the abstract principle of intellectual and artistic creation, it resists actual creations when they first appear, then eventually exploits them. This is because it needs to maintain a certain sense of criticality and experimental research among a minority, but must take care to channel this activity into narrowly compartmentalized utilitarian disciplines, dismissing all comprehensive critique and research. In the domain of culture, the bourgeoisie strives to divert the taste for the new, which has become dangerous for it, toward certain degraded forms of novelty that are harmless and confused. […] The people within avant-garde tendencies who distinguished themselves are generally accepted on an individual basis, at the price of vital renunciations: the fundamental point of debate is always the renunciation of comprehensive demands, and the acceptance of a fragmentary work, susceptible to multiple interpretations. This is what makes the very term avant-garde, which in the end is always defined and manipulated by the bourgeoisie, somewhat suspicious and ridiculous. ( pp.2-3 )

by merzedessturmlie

“Who the fuck needs art when there are trash vampires, trash trucks and werewolves in uniform about? This fire engulfing the trash must be an Eternal Fire… Let’s destroy all prisons! Freedom to all political prisoners! Feds don’t fuck us – we fuck feds! Happy New Year, comrades!


by merzedessturmlie


Friday 17 February @ Lilla Galleriet, Biblioteket Kulturhuset
15h00 -> 19h00


Andreas Fägerskiold
Stefano Alex di Puma
Merzedes Sturm-Lie
Lisa Gideonsson och Gustav Londre
Linus Nordensson Spångberg
Louise Dahl-Lindvall
Marco Bandobranski
Mattias Bäcklin
Vigandis Symbelis
Ann Halström
Oscar Guermouche
Tina Nykvist


by Robert Brečević

Oscar Guermouche held a 2 day workshop at Mejan last week (8-9 Februrary) as part of the course Propaganda. It included studio visits and raised important issues around the past practices of social critiquing within the arts. Should we use art / the art of propaganda to merely point our finger at things we perceive as “bad”?

As a finale of the workshop Oscar Guermouche continued on friday and installed his work “Vi vill åka till Moskva” – a powerful piece that features marching songs, sung at Swedish ranger regiments in the 1980’s and 1990’s, together with a collection of quotes where political speeches, marketing strategies, news articles and biblical books are intermixed with legislative works, history books, lyrics and the information with which the artist himself was provided when he joined the Lappland Ranger Regiment in Kiruna, Sweden. The texts have a chronological aspect based on the Oscar Guermouche’s own military service, 1998-1999, and the last war between Sweden and Russia, 1808-1809.
Vi vill åka till Moskva was one of the works involved in the “Konstfack scandals” in the spring of 2009.

Unfortunately the piece is not exhibited to it’s full extent due to limitations set out by Kulturhuset in combination with the the exposure and non-secured nature of the exhbition space.

Black Power Mixtape 1967-1975

by merzedessturmlie