Filed under journal | Tags: · art, authorship, curating
“This issue of On Curating brings together a range of interviews and essays, inspired by the symposium, “Why Artists Curate”, held by the Kunstbüro der Kunststiftung Baden-Württemberg in cooperation with Columbus Art Foundation in July 2011. The feedback from this conference prompted a discussion on authorship in contemporary art, from artists, curators and artist-curators.”
With essays by Marc James Léger and Dorothee Richter, and interviews with Artur Zmijewski (Anne Koskiluoma and Anna Krystyna Trzaska), Kristina Lee Podesva (Sophia Ribeiro), Raqs Media Collective (Chloé Nicolet-dit-Félix and Gulru Vardar), Mary Jane Jacob (Monika Molnár and Tanja Trampe), Valerie Smith (Jacqueline Falk and John Canciani), Gavin Wade (Michael Birchall and Nkule Mabaso), Fucking Good Art (Sheena Greene), Ute Meta Bauer and Yvonne P. Doderer (Annemarie Brand and Monika Molnár), Tania Bruguera (Ashraf Osman and Daniela N. Fuentes), and Marion von Osten (Charlotte Barnes).
Edited by Michael Birchall
With a Foreword by Winfried Stürzl
Publisher OnCurating.org, Zurich, June 2013
Filed under journal | Tags: · anthropocene, autonomy, capitalism, cognitive capitalism, commons, labour, marxism, multitude, subjectivity
“Despite Autonomia’s widespread influence on political action and post-Marxist scholarship, it has been surprisingly slow to address planetary change and environmental politics. With a focus on cognitive capitalism, many autonomist scholars have downplayed or fully ignored the ecological dimensions of post-Fordism—its foundations in extractive energy economies, its links to the accelerating financialization of nature under the banner of so-called green capitalism, its harnessing of nonhuman capacities, and its wildly uneven toxic geographies. This lack of engagement is regrettable given that, we propose, autonomist insights hold great promise for understanding both the transformed relation between capital and nonhuman natures in post-Fordism and the many political movements that have emerged in response. […]
It is no longer evident that key terms found in the autonomist lexicon—species being, the common, multitude, potentia—survive the challenge of the Anthropocene unchanged or that the production of subjectivity (a cornerstone of autonomist thought) can be understood solely in terms of language, habit, or gesture. It may therefore be necessary to think beyond the struggles of the factory floor, or those of the cognitariat today, to imagine and think from other sites of struggle, other forms of solidarity, and other experiments in “commoning.” These bring into play unfamiliar actors and unacknowledged geographies: sites of extraction and circuits of waste, indigenous communities and territories, rising seas and toxic landscapes that are materially present within the informationalized economies of global capitalism, but often invisible to those working within them. We might say, then, that the Anthropocene names autonomist Marxism’s unthought, an unthought that intrudes on its political imaginaries. What happens to autonomism if it begins to question the autonomy of the human? Or if it leaves its privileged sites in the global North?”
With contributions by Sara Nelson and Bruce Braun, Miriam Tola, Jason Read, Elizabeth R. Johnson, Elizabeth A. Povinelli, Matteo Pasquinelli, Karen Pinkus, Marco Armiero and Massimo De Angelis, Anja Kanngieser and Nicholas Beuret, and Isabelle Stengers.
Edited by Sara Nelson and Bruce Braun
Publisher Duke University Press, Apr 2017
Apparatus, 6: Women at the Editing Table: Revising Soviet Film History of the 1920s and 1930s (2018)
Filed under journal | Tags: · avant-garde, cinema, editing, film, film history, montage, women
“The construction of the historical narrative of film editing has the cultural invisibility of women and of collaborators embedded within it. Film histories regularly spend whole chapters describing editing as a significant revolution in the medium. However, while the names of “great directors” are evoked in these discussions, the names of editors are not mentioned: “…for the most part, the women who cut film in the silent era remained unacknowledged in film credits or the trade press. Their work was considered to be merely technical rather than creative.” […]
Collectively, the articles in this issue are shifting understanding of the editor’s work from ‘merely’ technical or ‘just helping’, which is a gendered erasure of women’s work, to understanding it as expert collaboration in filmmaking. In other words, creative work. Why is this important? Because by obscuring the creativity of the work of the hands of women who watched, sorted, cut and pasted frames of film together we obscure the women themselves.” (from Editorial)
Texts by Karen Pearlman, John MacKay, and John Sutton, Lilya Kaganovsky, Natalie Ryabchikova, Nikolai Izvolov, Adelheid Heftberger, and Esfir Shub.
Edited by Karen Pearlman and Adelheid Heftberger
Publisher Apparatus, Berlin, August 2018