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Yours, KOW

Manitoba

, Tobias Zielony

Feb 3 – Apr 15, 2012

DeutschEnglish

Between 1874 and 1996, the Canadian authorities, in concert with various churches, operated so-called Residential Schools—boarding schools designed to reeducate Canada’s aboriginals. During this time, around 250,000 children were forcibly separated from their families, isolated from the indigenous cultures, and remade into “good Christians.”

Von 1874 bis 1996 führte der kanadische Staat mit kirchlicher Unterstützung sogenannte Residential Schools – Internate zur Umerziehung der kanadischen Ureinwohner. Rund 250.000 Kinder wurden in dieser Zeit gewaltsam aus ihren Familien gerissen, von der indigenen Kultur abgeschnitten und zu „guten Christen“ umerzogen.

They were forbidden to speak their native languages; sexual abuse and forced sterilizations were widespread; more than 50,000 children died. Recent discoveries of children’s mass graves have been ignored, or investigations were halting. Although the Canadian government apologized for the reeducation program in 2008—the Vatican followed suit in 2009—they deny that a systematic genocide of the indigenous population, through lethal vaccination programs and other means, took place.

The teenagers whose pictures Tobias Zielony has taken in the province of Manitoba and its capital, Winnipeg, since 2008 are the children and grandchildren of those who survived the government’s system of assimilation. Many of them are just as cut off from any path toward integration into Canadian society as from the histories of their forebears, which was usually transmitted in the form of oral traditions and died out together with the banned dialects. So they now seek out old and new myths about tribal culture, heroism, and indigenous resistance, finding stylistic templates in recovered family lore, but also in Hollywood movies and the modern gang cultures of America’s global cities. On reservations, on the peripheries of major cities, or in prison, they grasp at building blocks for new narratives about themselves.

Due to the deliberate destruction of indigenous traditions, reality and fiction are virtually indistinguishable in these stories. As a consequence, Zielony’s portrait of young aboriginals in early twenty-first century Manitoba remains as fragmentary and ambivalent as the stories of their lives. Reservations, suburban housing projects, and the Manitoba Museum, which tries to teach members of the “First Nations” about their roots: these are the settings in which Zielony photographs his teenage subjects as they strike their hip-hop poses. Insecure and tender, but also proud, they seek to define their own image before the camera. In several projects he has undertaken since 2000, Tobias Zielony has discerned the particular opportunity a documentary approach affords in its ability to record moments when people do not neatly fit either into our image of reality or into their own. (See Camera Austria 114/2011)

Man verbot ihnen die Muttersprachen, sexueller Missbrauch und Zwangssterilisation waren üblich, mehr als 50.000 Kinder starben. Jüngste Funde von Kindermassengräbern wurden nicht oder nur zaghaft untersucht. Zwar entschuldigten sich die kanadische Regierung 2008 und der Vatikan 2009 für das Umerziehungsprogramm, den systematischen Genozid an der indigenen Bevölkerung – u.a. durch tödliche Impfprogramme – leugnen sie aber.

Die Jugendlichen, die Tobias Zielony seit 2008 in der Provinz Manitoba und in Winnipeg fotografierte, sind die Kinder und Enkel derjenigen, die das staatliche Assimilierungssystem überlebten. Von einer Integrationsmöglichkeit in die kanadische Gesellschaft sind sie oft genauso abgeschnitten wie von der meist mündlich überlieferten Geschichte ihrer Vorfahren, die zusammen mit den verbotenen Dialekten ausstarb. So suchen sie nach alten und neuen Mythen von Stammeskultur, Heldentum und indigenem Widerstand. Als Stilvorlagen dienen ihnen wiedergefundenes Familienwissen, aber auch Hollywoodfilme und moderne Gangkulturen der amerikanischen Global Cities. In Reservaten, am Rand der großen Städte oder in Gefängnissen greifen sie nach Versatzstücken neuer Erzählungen über sich selbst.

Realität und Fiktion sind in diesen Erzählungen kaum zu unterscheiden, nachdem indigene Traditionen bewusst zerschlagen wurden. Folgerichtig bleibt Zielonys Darstellung junger Indianer im Manitoba des frühen 21. Jahrhunderts ebenso lückenhaft und ambivalent wie deren Lebensgeschichten. Reservate, Vorstadtsiedlungen und das Manitoba Museum, das den „First Nations“ ihre Herkunft vermitteln will, sind das Umfeld der Jugendlichen, die Zielony mitten in ihren Hip Hop-Posen fotografiert. Unsicher, zärtlich, aber auch stolz suchen sie vor der Kamera des Fotografen ihr eigenes Bild. In seinen Projekten seit 2000 hat Tobias Zielony die Chance des Dokumentarismus immer wieder darin gesehen, Momente festzuhalten, in denen sich Menschen weder in unser Bild der Realität nahtlos einpassen noch in ihr eigenes. (Vergl. Camera Austria 114/2011).

Tobias Zielony, Manitoba, installation view, KOW, 2012
DeutschEnglish

he had to take five minutes of beating and kicking from the others—anyone who survives that treatment is free to leave.

Fünf Minuten lang musste er die Schläge und Tritte der anderen kassieren – wer das überlebt, darf gehen.

Comprising fifty photographs, a film, and an audio play, “Manitoba” is Tobias Zielony’s most extensive project to date. The short film “The Deboard” (2008) conveys the account of an aboriginal who was a member of an indigenous gang in the Winnipeg prison. When he wanted to quit the group, he had to undergo a ritual: he had to take five minutes of beating and kicking from the others—anyone who survives that treatment is free to leave. The Super 8 camera barely makes him out in the dark of his cell as he tells the dramatic story of how he broke free. It sounds like the stuff of legend. Truth and epic fiction are hard to tell apart in “Manitoba.” The same is true of Zielony’s one-hour audio play, which begins with the Canadian prime minister’s historic apology for the Residential Schools, but then begins to interweave documentary and literary perspectives:

In 2010, the American writer Andrea Hiott travels the Canadian province at Zielony’s behest. She has seen his film and photographs and carries a tape recorder. She retraces his path, visiting the places and people in his pictures and adding her own view to his. Tobias Zielony later took Hiott’s personal travelogue, in which she also reflects on her own indigenous roots, and created a new audio play, a collage of original recordings, found footage, and studio-recorded dramatic voices. A piece of contemporary oral history emerges in which Zielony himself becomes the coauthor as well as protagonist of a new spoken narrative about the attempt to report about people who want to write their own history.

After Camera Austria, Graz, and MMK Zollamt, Frankfurt, KOW is the third venue to present Zielony’s exhibition; the catalogue has been published by Spector Books, Leipzig. Tobias Zielony was born in 1973 and lives and works in Berlin.
Text: Alexander Koch / Translation: Gerrit Jackson

Mit fünfzig Fotografien, einem Film und einem Hörspiel ist „Manitoba“ Tobias Zielonys bislang umfangreichstes Projekt. Der Kurzfilm „The Deboard“ (2008) liefert den Bericht eines Indianers, der im Gefängnis von Winnipeg einer indigenen Gang angehörte. Als er die Gruppe verlassen wollte, hatte er ein Ritual zu durchlaufen: Fünf Minuten lang musste er die Schläge und Tritte der anderen kassieren – wer das überlebt, darf gehen. Für die Super-8-Kamera ist er im Dunkel seiner Zelle kaum erkennbar, während er die dramatische Geschichte seiner Selbstbefreiung erzählt. Sie klingt wie eine Legende. Wahrheit und Epos liegen in „Manitoba“ dicht beieinander. So auch in Zielonys einstündigem Hörspiel, das mit der historischen Entschuldigung des kanadischen Premierministers für die Residential Schools beginnt, um sodann dokumentarische und literarische Perspektiven zu verschränken:

Die US-amerikanische Autorin Andrea Hiott bereist 2010 in Zielonys Auftrag die kanadische Provinz. Seinen Film und seine Fotos hat sie im Gedächtnis und ein Tonbandgerät im Gepäck. Sie folgt seinen Spuren, besucht die Orte und Menschen auf seinen Bildern und verdoppelt dabei den Blick auf sie. Hiotts persönlichen Reisebericht, der auch ihre eigene indigene Herkunft reflektiert, vertonte Tobias Zielony später als eine Collage aus O-Tönen, Found Footage und inszenierten Studiostimmen. Ein zeitgenössisches Stück Oral History entstand, in dem Zielony zum Co-Autor und zugleich selbst zum Protagonisten einer neuen mündlichen Erzählung über den Versuch wird, von Menschen zu berichten, die ihre Geschichte selber schreiben wollen.

Nach Camera Austria, Graz, und dem MMK Zollamt in Frankfurt ist KOW die dritte Station von Zielonys Ausstellung, zu der bei Spector Books Leipzig der Katalog erschienen ist. Tobias Zielony, Jahrgang 1973, lebt und arbeitet in Berlin.
Text: Alexander Koch

Tobias Zielony, Manitoba, installation view, KOW, 2012
Tobias Zielony, Manitoba, installation view, KOW, 2012
Tobias Zielony, Air, 2011, C-Print, 69 × 46 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Brokenhead, 2011, C-Print, 46 × 69 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Casino, 2011, C-Print, 46 × 69 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Chronic, 2011, C-Print, 69 × 46 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Selkirk-2, 2009, C-Print 69 x 46 cm
Tobias Zielony, Ghost, 2011, C-Print, 69 × 46 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Greenwich, 2011, C-Print, 69 × 46 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Selkirk-3, 2011, C-Print, 46 × 69 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Horseman, 2009, C-Print, 46 x 69 cm
Tobias Zielony, Selkirk-1, 2011, C-Print, 69 × 46 cm (unframed), Ed. 6 + 2 AP
Tobias Zielony, Sky, 2011, C-Print, 46 × 69 cm (unframed), Ed. 6 + 2 AP

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