Nine signs in the shape of traffic symbols mark everyday discrimination: racism, classism, police violence. The phrases come from anonymous interviews with residents of Braunau. The installation brings personal experiences into the public space – as a collective warning and symbol of resistance. Inspired by the Argentinian collective Grupo de Arte Callejero, the project asks how structural violence becomes embedded in language and space.
CV
Cana Bilir-Meier (*1986 in Munich) lives and works in Munich. She studied art and digital media as well as film and art education at the Academy of Fine Arts in Vienna and at Sabancı University in Istanbul. She works as a filmmaker and artist, as well as in art and cultural projects. Her filmic, performative, and text-based works operate at the intersections of archival practice, text production, historical research, contemporary media reflexivity, and archaeology. She is a co-founder of the initiative in honor of Semra Ertan and co-editor of the poetry collection “Mein Name ist Ausländer – Benim Adım Yabancı”. In 2021, she was a visiting professor for art education at the Academy of Fine Arts in Munich. In 2024, she was a fellow at the Cité internationale des arts in Paris.
Silvia Troian is an Argentine graphic designer specializing in visual communication for cultural projects in the fields of art, heritage, and architecture. In 2023, she was responsible for designing the visual identity of the exhibition project Stopp Zuhören, Begegnen, part of the initiative Gedenkarbeit (Ort) für eine Gesellschaft der Vielen. In 2024, she designed various graphic elements for the Day of the Fallen in Duisburg 1984.
She has worked with a wide range of public and private institutions, including the National Directorate of Cultural Heritage and Museums of the Ministry of Culture, the Eduardo Sívori Museum of Fine Arts, the “Design District” project of the Metropolitan Design Center of Buenos Aires, the IOM-UNO (International Organization for Migration), the Documentation Center for Latin American Architecture, the Secretariat of the Antarctic Treaty, UTEDYC (Union of Workers of Sports and Civil Institutions), and publishing houses such as Fondo de Cultura Económica, Tantalia Crawl, Ediciones del fin del mundo, Teseo, El fin de la noche, and Turmalina.
Chana Boekle is a German and Latin American art curator who has lived between Germany and Argentina since 2013, focusing on exhibitions that address social issues such as memory culture and human rights. Over the past eight years, her work has centered particularly on political art in Argentina since the 1970s. Her projects reflect a strong interest in social questions and the role of art in public space.
From 2013 to 2019, Chana Boekle worked in the curatorial department of the Museo de Artes Plásticas “Eduardo Sívori” in Buenos Aires. She is currently also involved in German art projects dealing with themes of remembrance and resilience in the context of right-wing violence. She is the curator of the gallery and art lab Habitación19 (Buenos Aires).