Filed under book | Tags: · agriculture, anthropocene, art, colonialism, commons, decolonization, ecology, feminism, land, poetics
“The Agropoetics Reader unfolds as a collection of texts that informed, grounded, and nourished Soil Is an Inscribed Body. In this context of reflections and cogitations about the epistemic violence perpetrated by the West against other forms of knowledges, the project examines anti-colonial struggles of past and current land conflicts across the world in order to address the invasiveness of neo-agro-colonialism and its extractivist logics.”
With contributions by Bengi Akbulut, Yemisi Aribisala, Marwa Arsanios, Luis Berríos-Negrón, Filipa César, Marisol de la Cadena, Ayesha Hameed, INLAND, Mijo Miquel, Asuncíon Molinos Gordo, Huying Ng, Maria Ptqk, Maria Puig de la Bellacasa, Silvia Rivera Cusicanqui, Bouba Touré, Mirellle and Jennifer in conversation with Alex Ungprateeb Flynn, Hervé Yamguen, and the editors.
Edited by Elena Agudio, Marleen Boschen, and Lorenzo Sandoval, with Onur Çimen and Cleo Wächter
Publisher Institute for Endotic Research Press, Berlin, with Savvy Contemporary, Berlin, 2020
Filed under book | Tags: · aesthetics, anarchism, art, art system, black lives matter, commons, contemporary art, debt, direct action, gentrification, housing, new york, occupy movement, precarity, protest, situationists, social movements, spectacle
“The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond
What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action.
Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement.
Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.”
Publisher Verso Books, London and New York, 2016
ISBN 9781784781880, 1784781886
Reviews: Marc James Léger (Marx & Philosophy, 2016), Philipp Kleinmichel (Radical Philosophy, 2018), Paloma Checa-Gismero (Field, 2016), John Ayscough (Visual Culture in Britain, 2017), Kristin Gecan (Chicago Review, 2016).
Discussion: Gregory Sholette, a.o. (e-flux supercommunity, 2016).
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Filed under book | Tags: · archive, commons, history, human rights, imperialism, museum, photography, politics, sovereignty, strike, theory, violence
“A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share
In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences.
Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums.
By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium’s brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics.
Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as ‘past’ and making the repair of torn worlds the substance of politics.”
Publisher Verso Books, London, 2019
ISBN 9781788735711, 1788735714
Review: Lunettes Rouges (Le Monde blog, 2020, FR, part 2).
Roundtable: Gil Hochberg, Zoé Samudzi, Joshua Simon, Robert Yerachmiel Sniderman (Protocols, 2020).