TkH, 23: The Commons / Undercommons in Art, Education, Work … (2016)

“The fifteen pieces in this issue are the result of a somewhat peculiar endeavor. Between May 29 and June 1, 2014, we held a conference at Frankfurt Lab under the title of The Public Commons and the Undercommons of Art, Education, and Labour. Its title reflected our concerns about diagnosing the current predicament of higher education in the arts and humanities, artistic production, and cultural work. To summarize briefly, two turns have lately merged that characterize the transformation of work, knowledge, and subjectivation processes across the arts field and the Academy: the educational and the curatorial turn. While the educational turn has yielded a new academic (professional) valorization of artistic praxis (in the so-called creative or practice-based PhDs), coupled with a proliferation of degrees and a prolongation of financialized, debt-stricken study (also as a temporary deferral or relief from the market and its projective temporality), the curatorial turn has corresponded to a neoliberal style of managing both art and education, reducing time and attention, critical and transformative (poetic) engagements with one’s own art and study.” (from the Introduction)

With contributions by Harutyun Alpetyan, Gigi Argiropoulou, Stefano Harney, Gal Kirn, Boyan Manchev, Randy Martin, Fred Moten, Isabel de Naverán, Norbert Pape, Nina Power, Goran Sergej Pristaš, Jason Read, Jan Ritsema, Ana Vujanović, and Josefine Wikström.

Edited by Bojana Cvejić, Bojana Kunst, and Stefan Hölscher
Publisher TkH (Walking Theory), Belgrade, and Institute for Applied Theatre Science, Justus Liebig University, Giessen, April 2016
Creative Commons BY-NC-SA 3.0 Serbia License
ISSN 1451-0707
72 pages

Publisher

PDF, PDF

ArtLeaks Gazette (2013–)

“ArtLeaks is a collective platform initiated by an international group of artists, curators, art historians and intellectuals in response to the abuse of their professional integrity and the open infraction of their labor rights. In the art world, such abuses usually disappear, but some events bring them into sharp focus and therefore deserve public scrutiny. Only by drawing attention to concrete abuses can we underscore the precarious condition of cultural workers and the necessity for sustained protest against the appropriation of politically engaged art, culture and theory by institutions embedded in a tight mesh of capital and power.”

Edited by Corina L. Apostol (1-6), Vladan Jeremić (1-6), David Riff (1), Dmitry Vilensky (1), Vlad Morariu (1), Raluca Voinea (2), Brett Alton Bloom (3), and Rena Rädle (4-6), Jasmina Tumbas (5)
Publisher ArtLeaks
Creative Commons BY-NC-SA License

Project website

Issue 1, May 2013: PDF, PDFs
Issue 2, Jun 2014: PDF, PDFs
Issue 3, Aug 2015: PDF, PDFs
Issue 4, Sep 2017: PDF, PDFs
Issue 5: Patriarchy Over & Out. Discourse Made Manifest, Apr 2019: PDF, Issuu (added on 2024-2-19)
Issue 6: There is No ‘Back to Normal’ – Art Workers in Times of (Post)Pandemic Crisis, Feb 2022: PDF (added on 2024-2-19)

Claire Fontaine: Human Strike Has Already Begun & Other Writings (2013)

“The term ‘human strike’ was forged to name a revolt against what is reactionary even – and above all – inside the revolt. It defines a type of strike that involves the whole of life and not only its professional side, that acknowledges exploitation in all the domains and not only at work. The human strike is a movement that could potentially contaminate anyone and that attacks the foundations of life in common; its subject isn’t the proletarian or the factory worker but the ‘whatever singularity’ that everyone is. This movement isn’t there to reveal the exceptionality or the superiority of one group or another, but to unmask the whateverness of everybody as the open secret that social classes hide.”

Publisher Mute, London, and Post-Media Lab, Leuphana University, Lüneburg, 2013
PML Books series
Anti-copyright
ISBN 9781906496883, 1906496889
66 pages

Publisher
WorldCat

PDF, PDF