Art offers an opportunity to test new ways of dealing with hardened frontlines. The shift of a social or political problem, in this case, the one of discrimination and marginalization of Roma, Sinti, and Yenish minorities by European societies opens ways to new perspectives and analyzes by shifting them to an Artspace. Outdated perspectives are revealed and the frontlines could blur. In principle, any problem or any situation could be transferred as a model arrangement or simply as an object of an investigation into the art field. Methods for processing arise from the desire to gain new perspectives. An art laboratory of knowledge production is a legitimate development, whereby the exhibition space also becomes a place of production and displaces the supermarket. Institutional work in this setting would ideally support forces that secure a protected space against discriminating structures. Museums (examples in Scotland, Canada, Chile eg.) should not be seen exclusively as places of lost past and painful losses, but as places of contemporary knowledge and concentration of the living forces and supporters of the resistance. This would have a real significance for contemporary life threatened populations…

(Extract of GLAM Intervention Thesis by Mo Diener).

GLAM Intervention was a Roma Dada Avantgarde highjacking of a white cube. Corner College as an off space had invited us to give an insight into our work as a collective. The discursive art space was offering us a Carte Blanche and I decided to highjack the space with the collective. We had great fun tagging the white cube with stencils from Pablo Picasso, Toni Gatlif, Ava Gardner eg) while the car radio was playing loud some noisy urban sounds. As dadaistic highjackers, we were wearing colorful and decorated masks. The intervention was followed by a panel discussion with guests, moderated by the curator of Corner College Stefan Wagner. We invited Heinz Nigg, Sociologist, and Activist, Angela Mattli, Member of the NGO Society for Threatened People, Berne and Katharina Morawek, Curator of Shedhalle Zurich. To open the panel, I was reading I had written, interpreting thoughts of Frantz Fanon’s The Damned of The World: What do the damned of the world do in the discursive space of art – what is their presence if not a permanent revolt against the western canon of art language and perception?