Filed under book, journal | Tags: · art, commons, curating, education, knowledge, politics, subjectivation, undercommons, university, work
“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
Filed under journal | Tags: · art history, central europe, communism, east-central europe, eastern europe, new tendencies, photography, politics, socialism, southeastern europe
“The tensions between actual and ideal versions of socialism elucidated by East German theorist Rudolf Bahro in 1977 are taken as a starting point for reconsidering East European art from the radical effervescence of the 1960s to the post-utopian twilight of the late 1970s. The special issue is premised on the concept that artistic life in Eastern Europe was profoundly shaped by the structures, conventions and workings of the overarching system, with artists and critics compelled to negotiate its productive contradictions. It examines the quotidian functioning of art scenes across the region that entailed the drawing up of tacit compromises and maintenance of calculated ambiguities in relations between party authorities and artists. Ultimately it was the latent and unrealised promise of actually existing socialism as much as its demonstrative failings that marked a crucial difference in the attitude of East European artists to the utopian reverberations of the era.”
With texts by Maja Fowkes & Reuben Fowkes, Tomáš Pospiszyl, Tomasz Załuski, Zsuzsa László, Daniel Grúň, Candice M Hamelin, Hana Buddeus, Alina Șerban, Raino Isto, Sonja Simonyi, Marko Ilić, and Armin Medosch.
Edited by Reuben Fowkes
Publisher Routledge, July 2018
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Filed under catalogue, zine | Tags: · art, politics, race, survivalism
“‘Everyone contains a history of contamination; purity is not an option.’
In the event of disaster, we, the people who have always been surviving, will simply continue to survive. We have learned skills you wouldn’t believe, enduring under police states. We refine trauma into gold and use exile as jet propellant.
Yet we lack a vision of our lives past survival. What will we do when we head “back to the land” that was never ours? We do not see ourselves in the paranoiac manuals of preppers, in minimalist lifestyle retreats, in the nativist isolationism of militiamen.
We do not want to repeat these dreams of being the center, forever tyrants over little kingdoms. In this beyond, we will contaminate one another. We first learn from the past, building lookouts to keep our homes from burning.
We then seek an unruly communion. New languages, icons, guides, rituals, spun and fired beneath a twilight canopy of fungi. We claim a gorgeous, baroque maximalism, a future that sounds, looks, and feels like our innermost thoughts.”
Made by American Artist, Caitlin Cherry, Nora N. Khan and Sondra Perry
Published in New York, October 2018