Filed under catalogue | Tags: · aesthetics, art, decoloniality, decolonization, diaspora, europe
“Be.Bop: Black Europe Body Politics, a project of Art Labour Archives, is a decolonial transdisciplinary and indisciplinary curatorial initiative based in Berlin with an international impact through presentations in major cities across three continents.”
“Active in the international cultural arena since 1997, Art Labour Archives has been passionately involved in the production and theorization of performance and the moving image from a Black Diaspora perspective.
In the vision of its founder, Alanna Lockward, disciplines are meant to facilitate each other’s dismantling by means of constantly challenging its own claims to legitimacy. This paradigm inversion places collective knowledge creation as a central ambition. In this sense, the optic and praxis of Art Labour Archives is to surpass the expectations of the society of the spectacle and its insatiable appetite for visual and sensorial stimulation. Instead, the dozens of publications, exhibitions, screening programs, workshops and seminars conceptualized and produced by Art Labour Archives in the last seventeen years, have offered liberation, healing and redemption as a viable alternative.
In short: our journey is one of experiencing “art” as a labour of love and mutual examination and recognition beyond geographical, discursive and disciplinary thresholds. Between 2010—2018 Be.Bop has been presented in conferences, seminars and different public events in three different continents thanks to the support and faith of our partners, participants and friends.”
Be.Bop “is an enterprise led by curator Alanna Lockward; a collective of artists, curators, artivists and activists, social theorists and humanists. A decolonial project of healing, learning and love. Network with the Middelburg Decolonial Summer School and with Decolonial Aesthesis in Bogota and Durham (Duke University)” (Walter Mignolo, project advisor).
Curated by Alanna Lockward
Publisher Art Labour Archives, Berlin, 2012-2018
The Skin Thing, 2012, event website
Decolonizing the “Cold” War, 2013, event website
Spiritual Revolutions & The “Scramble for Africa”, 2014, event website
Call & Response, 2016, event website (2)
Coalitions Facing White Innocence, 2018, event website
Filed under book | Tags: · aesthetics, art, art history, autonomy, avant-garde, capitalism, conceptual art, immaterial labor, labour, modernism, negation, neo-avant-garde, philosophy, politics, praxis, theory
“Why the avant-garde of art needs to be rehabilitated today
Since the decidedly bleak beginning of the twenty-first century, art practice has become increasingly politicized. Yet few have put forward a sustained defence of this development. Revolutionary Time and the Avant-Garde is the first book to look at the legacy of the avant-garde in relation to the deepening crisis of contemporary capitalism.
An invigorating revitalization of the Frankfurt School legacy, Roberts’s book defines and validates the avant-garde idea with an erudite acuity, providing a refined conceptual set of tools to engage critically with the most advanced art theorists of our day, such as Hal Foster, Andrew Benjamin, Alain Badiou, Jacques Rancière, Paolo Virno, Claire Bishop, Michael Hardt, and Toni Negri.”
Publisher Verso, London, 2015
ISBN 9781781689134, 178168913X
Filed under journal | Tags: · aesthetics, art, art criticism, fake news, journalism, media activism, media art, new media art, propaganda, reality, tactical media, truth
“As the highly contested term “fake news” has become omnipresent in our media sphere and as the hacking of private networks for political gain have dominated the global news cycle, Media-N’s new issue is well positioned to uncover the complex relationship between media art and the multifarious forms of news reportage. We find in this wide-ranging journal issue, new media artists, writers, and theoreticians attempting to reveal, expose, and protest the production, rhetoric, and dissemination of news. Exploiting or subverting the existing network or creating alternative technologies, codes, or platforms, new media artists has probed the hegemonic grip of tradition forms of media production. Employing the raw material of journalism or intervening in the distribution and transmission of news information, artists have effectively critiqued or reimagined the unstable and fluid spaces of the contemporary news sphere. The nature of news information and its relationship to concepts of reality, truth, aesthetics, and the public and private are all at play in this issue.” (from Introduction)
With contributions by Erica Levin, Randall Packer, Kris Paulsen, Erin McElroy, Lisa Moren, Brandon Bauer, Rick Valentin, Francesca Franco, Yasuhito Abe, Vincent Cellucci, Jesse Allison, Derick Ostrenko, and Mina Cheon.
Guest editors: Abigail Susik and Grant Taylor
Publisher New Media Caucus, 2017