On the strategy of overidentification see Inke Arns, “Mobile Staaten / Bewegliche Grenzen / Wandernde Einheiten. Das slowenische Künstlerkollektiv Neue Slowenische Kunst (NSK)” in Netzkritik: Materialien zur Internet-Debatte, ed. nettime / Geert Lovink, Pit Schultz (Berlin: Edition ID-Archiv, 1997), 201–211; Inke Arns, Neue Slowenische Kunst (NSK)—eine Analyse ihrer künstlerischen Strategien im Kontext der 1980er Jahre in Jugoslawien(Regensburg: Museum Ostdeutsche Galerie, 2002); Inke Arns and Sylvia Sasse, “Subversive Affirmation: On Mimesis as Strategy of Resistance,” in East Art Map: Contemporary Art and Eastern Europe, ed. IRWIN(Cambridge, MA: MIT Press, 2006), 444–455; “Subversive Affirmation,” eds. Inke Arns and Sylvia Sasse, Maska Vol. XIX/ 3–4 (98-99) (2006).
See, for example, →.
Like most residential houses in Lagos, our hotel was surrounded by a high wall topped with barbed wire (or, alternatively, glass splinters). There were two generators in the courtyard beneath our windows that ran all night. Like our neighbors’ generators, they were pretty loud.
Speakers included Dr. Inke Arns, IRWIN members Miran Mohar and Borut Vogelnik, and Nigerian NSK passport holders. The panel was moderated by Loren Hansi Momodu and took place on July 31.
The passage omitted from this quote reads: “This project forms part of CCA Lagos’ year-long program On Independence and The Ambivalence of Promise, celebrating 50 years of independence by seventeen African countries including Nigeria on the 1st October 2010. It provides an avenue to interrogate notions of nationhood at a time when our idea of citizenship is continuously being challenged by state policies such as Nigeria’s contentious ‘federal character’ system or through religious and ethnic disturbances such as the recent unrest in the city of Jos, as well as the perennial civic unrest of the oil-rich Niger Delta.”
Eda Čufer and IRWIN, “Concepts and Relations” (1992), in IRWIN, Zemljopis Vremena / Geography of Time, exhibition catalogue (Umag, 1994). The full quote reads: “The role of art and artists in defining time which belongs to them individually is more effective than in defining territory. The real, not imaginary, 'fatherland' of the individual is limited to the circle of the house in which he was born, the classroom or the library in which he acquired knowledge, the landscapes in which he walked, the spaces to which he is oriented, to the circle of his own individual experience, to that which exists andnot that he was born into. The territorial borders of the NSK state can by no means be equated with the territorial borders of the actual state in which NSK originated. The borders of the NSK state are drawn along the coordinates of its symbolic and physical body, which at the time of its activity acquired objective values and objective status.”
Eda Čufer and IRWIN, "NSK State in Time"(1993), ibid. NSK makes a distinction between its “citizens” and its “members.” In practice, “citizens” are anyone who can scrape together the money for a passport, while only fifteen special people qualify as “members” (paraphrasing Michael Benson).
Bosnians did this because Bosnia was not then internationally recognized and so people had no papers that would allow them to cross international borders.
The number 419 refers to the article of the Nigerian Criminal Code dealing with fraud (part of Chapter 38: “Obtaining Property by false pretences; Cheating”).
See →.
The 419 scam has been imitated by people in other Africa nations and in countries throughout the world, including the Philippines, Malaysia, Russia, Australia, Canada, the United Kingdom, and the United States.
Quoted in Robert Andrews, “Baiters Teach Scammers a Lesson”, Wired, August 4, 2006. See →.
