tactics in Mars & Medak 2019
de and outsider art’ on the Internet, the drafters of the letter
followed up on their initial call to acts of care for the infrastructure of our shared
knowledge commons that the first letter ended with. The second letter was a gift
card to Ubu, announcing that it had received two mirrors, i.e. exact copies of the
Ubu website accessible from servers in two different locations – one in Iceland,
supported by a cultural activist community, and another one in Switzerland,
supported by a major art school – whose maintenance should ensure that Ubu
remains accessible even if its primary server is taken down.
McKenzie Wark in their text on UbuWeb poignantly observes that shadow
libraries are:
tactics for intervening in three kinds of practices, those of the art-world, of
publishing and of scholarship. They respond to the current institutional, technical
and political-economic constraints of all three. As it says in the Communist
Manifesto, the forces for social change are those that ask the property question.
While détournement was a sufficient answer to that question in the era of the
culture industries, they try to formulate, in their modest way, a suitable tactic for
answering the property question in the era of the vulture industries. (Wark, 2015:
116)
As we claimed, the avant-garde radicalism can be recuperated for the present
through the gestures of disobedience, deceleration and
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