After Supervising the Machinery

Artistic Interventions in Public Space
25-27 SEP 2020
Engelskirchen

On the occasion of the 200th birthday of Friedrich Engels

With contributions by Bini Adamczak, Ulf Aminde & Manuel Gogos, Dario Azzellini & Oliver Ressler, Dirk Baecker, Felicitas P. Berg, María do Mar Castro Varela, Antje Ehmann & Harun Farocki, Manfred Fischedick, Daniel Häni, Dagna Jakubowska, Brigitta Muntendorf, Sibylle Peters, Dan Perjovschi, Alexandra Pirici, Quarantine, Dries Verhoeven, Zorka Wollny et al.

Curated by Florian Malzacher


The supervision of machinery, the joining of broken threads, is no activity which claims the operative’s thinking powers, yet it is of a sort which prevents him from occupying his mind with other things. Friedrich Engels, The Situation of the Working Class in England (1845)

What comes after work, at least after the kind of work that prevents the “mind from being occupied with other things”? On the occasion of Friedrich Engels‘ 200th birthday ten artistic positions in Engelskirchen examined the intellectual and political legacy of the influential political thinker and activist: What does work mean today, in a time of serious crises and changes? How much is our life interwoven with work – hasn’t it even become a form of work itself? Who stands in the light, who remains invisible? How many of our occupations are activities that no one really needs, but which are often far better paid than those that are actually “system-relevant”? So what is it today anyway: the “working class” – in an era of global markets and networks, digital monopolies and new class struggles?

The history of the municipality of Engelskirchen is closely linked to that of each of the Engels family: in 1844, the Ermen & Engels cotton spinning mill began production, a factory based on the efficient English model. Apart from favourable transport routes and the Agger river, which supplied both energy and water for dyeing the yarns, there was another good reason for the choice of location: sufficient women and children as cheap labour. So while Engelskirchen was preparing to become one of the engines of the Industrial Revolution, Friedrich Engels Jr. wrote his seminal book on The Condition of the Working Class in England, which can be read in passages as a description of what was then just beginning in this region.

This historical background was the context and backdrop for ten artistic explorations of the past, present and future of work: Ulf Aminde and Manuel Gogos reminded us who actually built the road that has connected Engelskirchen to the world for centuries and what role the work of “guest workers” plays in our society. Along the same Märkische Straße, Dan Perjoschi‘s drawings brought the paradoxes of our working worlds to the point. In an audio tour, the artist ensemble Quarantine let some of those who keep the place alive have their say. Alexandra Pirici erected her living, ever-changing monument to labour at two formerly important industrial transfer points that now seem rather tranquil. At the train station, which has shrunk to a simple bus stop, Dries Verhoeven referred to those who fall through the cracks and live on the street by begging. In the Protestant church, which Engels’ pietist father had ordered to be built in his will, Zorka Wollny, together with singers from Engelskirchen, condensed the sounds of work into an irritating choral work. In the parish hall next door, Dagna Jakobowska celebrated an artistic-culinary harvest festival of work done and speculated on the future of bread. In the former villa of the Engels family, an initiative of Engelskirchen artists dedicated a first retrospective to the largely forgotten artist Felicitas P. Berg: It is not only in times of crisis that artists need the ability to develop ever new forms of collaboration and artistic production. In the Ermen & Engels factory, which was closed down in 1979 and is now the LVR Industrial Museum, four video works by Dario Azzellini and Oliver Ressler showed what happens when workers courageously resist such liquidations and try to bring the means of production under their own control. Antje Ehmann and Harun Farocki have collected impressions of working all over the world, six of which are shown in the former twisting mill.

The works in Engelskirchen were complemented by lectures and discourse on the net. Artists, theorists and activists such as Bini Adamczak, Dirk Baecker, María do Mar Castro Varela, Bernadette La Hengst, Luise Meier, Brigitta Muntendorf and Sibylle Peters speculated on the future of work – with a special focus on what can be learned from artistic processes about the nature of production and work today.

Artistic Direction:Florian Malzacher / Production:Mara Nedelcu / Pr & Press: Martin Maruschka, Anette Gantenberg / Social Media: Lena Busse / Intern: Maja Splete / Team LVR-Industriemuseum – Kraftwerk Ermen & Engels: Sonja Nanko, Sabine Schachtner, Michael Lurkowski, Sophia Sökeland, Angela Thielmann / Special Thanks to: Harry Cremer, Norbert Hamm, Gero Karthaus, Wolfgang Oberbüscher, Peter Ruland, Johannes Vogelbusch, Familie Yegin und viele andere Engelskirchener*innen und Oberberger*innen.

A Project by the LVR-Industriemuseums Kraftwerk Ermen & Engels (Engelskirchen) And the NRW KULTURsekretariats (Wuppertal) on Occasion of the200.birthday of Friedrich Engels. Supported by Regionale Kulturförderung des Landschaftsverbandes Rheinland.

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Documentation After Supervising the Machinery

"After Supervising the Machinery" / Photo: Tommy Scheer

"After Supervising the Machinery": Ulf Aminde & Manuel Gogos, "Street of Labor" / Photo: Tommy Scheer

"After Supervising the Machinery": Ulf Aminde & Manuel Gogos, "Street of Labor" / Photo: Tommy Scheer

"After Supervising the Machinery": Ulf Aminde & Manuel Gogos, "Street of Labor" / Photo: Tommy Scheer

"After Supervising the Machinery": Ulf Aminde & Manuel Gogos, "Street of Labor" / Photo: Tommy Scheer

"After Supervising the Machinery": Ozan Ata Canani / Photo: Tommy Scheer

"After Supervising the Machinery": Dan Perjovschi, "To Arbeit" / Photo: Tommy Scheer

"After Supervising the Machinery": Dan Perjovschi, "To Arbeit" / Photo: Tommy Scheer

"After Supervising the Machinery": Dan Perjovschi, "To Arbeit" / Photo: Tommy Scheer

"After Supervising the Machinery": Felicitas P. Berg "Retrospektive" / Foto: Tommy Scheer

"After Supervising the Machinery": Felicitas P. Berg "Retrospektive" / Foto: Tommy Scheer

"After Supervising the Machinery": Antje Ehmann & Harun Farocki, "Labor in a Single Shot" / Photo: Tommy Scheer

"After Supervising the Machinery": Dagna Jakobowska "Our Daily Bread" / Photo: Tommy Scheer

"After Supervising the Machinery": Dagna Jakobowska "Our Daily Bread" / Photo: Tommy Scheer

"After Supervising the Machinery": Dagna Jakobowska "Our Daily Bread" / Photo: Tommy Scheer

"After Supervising the Machinery": Alexandra Pirici "Monument to Work" / Photo: Tommy Scheer

"After Supervising the Machinery": Alexandra Pirici "Monument to Work" / Photo: Tommy Scheer

"After Supervising the Machinery": Quarantine "The People of" / Photo: Tommy Scheer

"After Supervising the Machinery": Dario Azzellini & Oliver Ressler "Occupy, Resist, Produce" / Photo: Tommy Scheer

"After Supervising the Machinery"

"After Supervising the Machinery": Zorka Wollny "Clockwork" / Photo: Tommy Scheer

"After Supervising the Machinery": Zorka Wollny "Clockwork" / Photo: Tommy Scheer

"After Supervising the Machinery": Dries Verhoeven "Songs for Thomas Piketty" / Photo: Tommy Scheer

"After Supervising the Machinery": Dries Verhoeven "Songs for Thomas Piketty" / Photo: Tommy Scheer