Tag: Art for UBI

WORK, NOT UBI, MAKES US MORE LONELY AND COMPETITIVE

Marco Baravalle & Emanuele Braga

ENGLISH

Marco Baravalle and Emanuele Braga will be at Teatro do Bairro Alto, in Lisbon, for a live presentation of the Art for UBI manifesto. Before that, they answered some questions about this work and its central theme, the Unconditional Basic Income (RBI or UBI).

You dedicate all your time to studies. You behave in class, read the textbooks, do your homework. Progress and repeat the procedure at each new difficulty level until you unlock a new map. In the world of work, the days lengthen, and your concentration narrows. There is no longer time for discovery and all the time must be dedicated to complying, with professionalism and resilience, with the orders of the boss. You depend on your salary, social security does not guarantee a dignified life, and among so many duties, changing is no longer a right. You have to work at the expense of the present, and work with fear of the future that you never know what it will bring. Working to pay the rent, to feed the family, to enjoy the world. It is from the work that the reward comes, it is the work that justifies the salary, and it will be our aptitudes to do so that guarantee us a dignified life, we are told. But will it be so?

Without telling anyone’s story, this story that anyone can identify with, reflects a systemic narrative. Our life, from an early age, is organized according to work, in a bet based on the expectation that the salary will fulfill, one day, in a hypothetical future, the missive of guaranteeing each employee a dignified life. But if for many years its questioning was out of the question, the data we have today make it more difficult to believe it.

The inflation that is reflected in the profits of large corporations, the galloping cost of housing in low-wage areas, precariousness, which is spreading around the world like a virus that erodes rights and guarantees, with an almost pandemic character, or the flagrant crisis climate, not only threaten the promise of seeing a dignified life in wages, but also denote the perversity of the paths we have followed behind this idea. Faced with so many signs, it is urgent to broaden the horizons of our vision and that is the proposal of the Institute for Radical Imagination, the space where the Art For UBI manifesto by Marco Baravalle, Emanuele Braga and Gabriella Riccio was born.

“While the financial elite continues to use the art market as a safe haven for financial assets, the Covid-19 pandemic has further highlighted the fragility and precariousness of artistic workers around the world. This context fueled the discussion around the Universal Basic Income. The Art for UBI manifesto argues that this measure is a necessary condition to rethink an ecologically extractive economic model, correct race and gender asymmetries and change the current neoliberal structure of the art world”, reads in the project description.

Bringing together in book format a set of artists’ essays on Unconditional Basic Income, Baravalle, Braga and Riccio seek not only to create a publication that informs this debate, but also to initiate a broader conversation about the necessary changes in our society. As a result of this intention, Baravalle and Braga will be on the 29th of June (Thursday) at the Teatro do Bairro Alto, in Lisbon, for a live presentation of their manifesto and, before that, they responded by email to a short interview about their investigation.

Emanuele Braga is an activist, artist, co-founder of the Institute of Radical Imagination and member of MACAO, a structure where he experimented with Common Coin and Bank of the common. He contributed to the Income performances. The unconditional speech, at Wiener Festwochen in June 2021, and in One income, many worlds, at Museo Reina Sofia, in September 2021. Marco Baravalle is an activist, researcher, co-founder of the Institute of Radical Imagination and member of S.a.L.E. Docks, an independent collective dedicated to the relationship between art, activism and gentrification. He was one of the contributors to the performance One income, many worlds, at the Museo Reina Sofia, in September 2021.


Shifter (S.): I know it’s a tough question but since you’ve delved into the topic. Are you able to give us a snapshot of the horizon in relation to UBI? What did you feel are the main obstacles and, by the way, what did you feel would be the biggest gains globally?

E.B.: I think we need to flip the perspective: the truth is that work is no longer enough. The financialization of the economy and the dismantling and precarization of the labor market have made it impossible to distribute sufficient wealth through work. For this reason, I believe we should take these two possible scenarios in the European area seriously: on one hand, struggles for a welfare system that replaces and complements the lack of income from work. On the other hand, we must prepare for major processes of social expulsion and revolt.

M.B.: If, as Emanuele says, wage work is no longer the unique tool for the distribution of wealth, is also true that the main obstacles to deeply rethink our system in Europe, come from reactionary governments which, beyond their populist rhetoric, once in power, cut on the already weak welfare system and enact laws that widen the gap between rich and poor. We are witnessing this very process right now in Italy. But this is not simply a problem of the far right. The rigidity with which Macron reacted to the large French movement against his pension reform is unbelievable. On the other hand, the movements in France show that broad layers of society are strongly posing the issue of income distribution and are also doing so in connection with other issues, such as that of environmental justice.

S.: Lately, with the emergence of generative technologies we have seen a fuss about a possible devaluation of artists. However, if we understand these models we see that they are not really creative, they cannot really replace artists, they can produce objects that replace art in the value chains. This has more to do with the economic model of art than with art itself? Do you agree that there is confusion around this idea, and that it is important to think collectively about what is art and what is the art market?

E.B.: I don’t believe that AI is stealing artists’ jobs. I think the relationship between art and technological innovation should be interpreted in a different way. Creativity, the figure of the artist, has been the laboratory for transitioning from the paradigm of factory work to the post-Fordist one. It’s a production model based on being entrepreneurs of oneself, being flexible, collaborative, and multitasking. Within the paradigm of creative industries, the social organization of digital platforms has developed. The laboratory of creativity and the surplus it continually reproduces are captured by capital in the form of technological innovation. Creativity dissolves into society like an aspirin in a glass of water, as Paolo Virno said in “Grammar of the Multitude.” Now I add: from that glass of water, algorithmic control of society and the automation of our behaviors have emerged. Behind AI, there is the collective intelligence of billions of people who contribute to its capabilities, and hundreds of thousands of underpaid workers who invisibly maintain its infrastructure and functioning. Unlike the creative industries, art now more than ever has a role in giving expression to subversion, sabotage, and the space to de-automate the technological circuits of domination.

S.: Do you think it is important to free artists from this almost existential need to produce for the market?

E.B.: I don’t want to perpetuate the idea of art as a space of privilege, created by individuals who can afford it economically and culturally. Our friend and comrade Gregory Sholette, in “Dark Matter,” contrasts the enormous invisible production of symbols, art, and culture that takes place in activism and social cooperation with the few artists recognized as famous by the art system and the market. The immense production of art, signs, and culture within society is to famous artists what dark matter in the universe is to the few visible stars. I believe that as art institutions, we need to build discursive devices that exist within the social and the struggles. While the art market tends to commodify activism and militant research, aestheticizing the struggles, I believe in the exact opposite: we should understand how expressive dispositifs can become war-machines (in the sense Gilles Deleuze uses this term) to organize processes of liberation within society.

M.B.: I would like to add that I think it is very important to create new possibilities of subjectivation for artists outside the market. This is one of the goals of radical art, to find ways for art and for being an artist (or art worker) within, but also against and beyond the predefined track (art school-biennials-museum-gallery). This doesn’t mean, as in the common sense of avant-garde, to merge art and life, but to win new autonomy for the art fact, more autonomy from the pervasive presence of capital.

S.: Do you think this change is essential and necessary to unlock transfeminist and decolonial struggles? Can it be a way to mitigate structural inequalities?

E.B.: The feminist perspective was the first to focus on this point, going beyond the interpretation that the working class made of Marx. Feminists have asserted that the central aspect of capital extraction lies in the invisibilization of reproductive labor. Capital has always profited from the cycles of life reproduction more than from exploiting wage labor. In the investigations we are conducting in various European territories, it becomes evident that citizenship and race are the other main dispositifs of exploitation. Denying equal rights and forcing individuals along racial lines to perform the most degrading jobs and social positions is an incredible lever for exploitation and the accumulation of privilege. Recognizing a Universal Basic Income and universal social services such as education, healthcare, and housing for everyone is undoubtedly a measure that breaks the chains of blackmail and exploitation. It is a way to ensure that all individuals have access to a basic level of economic security and fundamental services, regardless of their background or circumstances.

M.B: We see how often gender, race and class exploitations are intersected. We need to find ways to create a positive intersectionality too. That is why, beyond its social impact, we focused on the possible impact of UBI on gender, race, and ecological inequalities. If I may, one limit that is often visible within the art world at this very moment is a widespread attention towards decolonial and queer perspectives, but in the framework of a general acceptance of the neoliberal system. On the contrary, I agree with the Combahee River Collective (a collective of Afro-American feminists from the 70s) when they wrote: “We are socialists because we believe that work must be organized for the collective benefit of those who do the work and create the products, and not for the profit of the bosses. Material resources must be equally distributed among those who create these resources. We are not convinced, however, that a socialist revolution that is not also a feminist and anti-racist revolution will guarantee our liberation”.

S.: Some critics of UBI say that promoting such an agenda – where the money goes to the individual – may promote a more individualized society and lead to a disconnect from collective causes or even a weakening of social democracy. What would be your counter-argument to this criticism?

E.B.: I have no idea; I’m not trying to sell anything, but to understand. In the investigations we have conducted by listening to people, I have come to understand that people are prone to depression, burnout, bullying, feeling lonely and isolated, to the point of quitting their jobs because it is work that induces individualism, loneliness, and selective competition. Work, not UBI, leads us to be lonely and competitive. Secondly, people who have access to social services and income support usually begin to cooperate. They do things they couldn’t afford to do before. I believe it is similar to managing leisure time, time for nurturing relationships, for play, for doing something meaningful, for organizing based on one’s beliefs. I don’t think anyone has ever feared that granting more leisure time would result in a society of competitive individualists. It seems absurd and propaganda full of bias and preconceptions.

M.B.: I think such a statement is simply a lie. The neoliberal system is based on the ideology of individualization. Cooperation is disincentivized, our networked economy is the fruit of social intelligence, but its fruits are sifted and harvested for profit. Instead, we think that income guarantee measures and a solid welfare system are important tools to free up all that time now invested in individual competition and give more breathing space to collective dynamics and cooperative processes.

S.: Your project has several formats, among them a book where you put together several perspectives on the UBI. You identify yourselves as artists but you are a little different from the orthodoxy of producing pieces for the market or the galleries. Do you think it is important to go down this path, and create these pretexts for artists to think more about the world and less only about their next exhibition or their next work?

 E.B.: The history of art is filled with artists who have said things that couldn’t be said, who have shown what cultural and political regimes tried to make invisible. The history of art is also populated by political dissidents and activists who pretended to be artists or used art as a means to express their thoughts without being directly imprisoned. The history of art I want to belong to is populated by these kinds of figures. I challenge you to search carefully and study the history of art beneath the surface of appearances because I don’t believe you will find many artists who have made their mark without belonging to one of these two categories.

M.B. In my case I don’t even identify as an artist. I usually introduce myself as an activist, researcher and curator. To me, Art For UBI is mainly a tool for experimenting a method of performative militant investigation. Something where aesthetics and politics intersect. Maybe Emanuele is right, our genealogy is to be found mainly in that “other” history of art (one of the many that exist), and indeed what characterizes our curriculum is a long commitment to grassroots activism.

S.: And how important is it to do it collectively? Do you think that the traditional path of art is giving rise to artists who are also more isolated? Is it necessary to recover the social fabric?

E.B.: I have been working as an artist for 25 years, and I have always signed my main works with collective signatures. In truth, even when I sign a work with just my name and surname, I know deep down that I am cheating. I strongly feel that the works, actions, speeches, and texts we produce are the result of complex situated relationships. I would be nothing without the network of relationships in which I choose to operate. Authorship lies more in the series of interdependencies we choose or happen to have. I am nothing on my own. And my name is always an anagram, the meaning of which is continuously evolving and implies collective intelligence, non-human resources, desires, and conditions of oppression. That is why I advise everyone, when they sign a work as a single author, to spend a lot of time explicitly elucidating the genealogy and interdependencies from which it derives.


M.B. Emanuele’s answer perfectly works for me too. Let me add one thing. Besides recovering the social fabric, I think what is commonly called radical art must also re-discover its way to conflict and social struggles. Too often in the past decades socially engaged art has presented itself with an NGO attitude, worried about repairing supposed micro-fractures while completely ignoring the structural causes of such damages.

PORTUGUES

Marco Baravalle e Emanuele Braga estarão no Teatro do Bairro Alto, em Lisboa, para uma apresentação ao vivo do manifesto Art for UBI. Antes disso, responderam a algumas questões sobre este trabalho e o seu tema central, o Rendimento Básico Incondicional (RBI ou UBI, na sigla em inglês).

Dedicas todo o teu tempo aos estudos. Comportas-te nas aulas, lês os manuais, fazes os trabalhos de casa. Progrides e repetes o procedimento a cada novo nível de dificuldade até que desbloqueias um novo mapa. No mundo do trabalho os dias alongam-se, e a tua concentração afunila-se. Já não há tempo para a descoberta e todo o tempo se deve dedicar ao cumprimento, com profissionalismo e resiliência, das ordens do patrão. Dependes do salário, a providência social não garante uma vida digna, e entre tantos deveres mudar deixa de ser um direito. Há que trabalhar para as custas do presente, e trabalhar com medo do futuro que nunca se sabe o que trás. Trabalhar para pagar a renda, para alimentar a família, para fruir do mundo. É do trabalho que surge a recompensa, é o trabalho que justifica o salário, e serão as nossas aptidões para o fazer a garantir-nos uma vida digna, dizem-nos. Mas será mesmo assim? 

Sem contar a história de ninguém, esta história com que qualquer um se pode identificar, reflete uma narrativa de carácter sistémico. A nossa vida, desde cedo que se organiza em função do trabalho, numa aposta baseada na expectativa de que o salário cumprirá, um dia, num futuro hipotético, a missiva de garantir a cada assalariado uma vida digna. Mas se durante muitos anos o seu questionamento esteve for de questão, os dados de que hoje dispomos tornam mais difícil acreditar nela. 

A inflação que se reflete nos lucros das grandes corporações, o galopante custo da habitação em zonas de baixos salários, a precariedade, que se vai disseminando pelo mundo como um vírus que corrói direitos e garantias, com um carácter quase pandémico, ou a flagrante crise climática, não só ameaçam a promessa de ver no salário uma vida digna, como denotam a perversidade dos caminhos que temos percorrido atrás desta ideia. Perante tantos sinais, urge alargar os horizontes da nossa visão e essa é a proposta do Instituto para a Imaginação Radical, espaço onde nasceu o manifesto Art For UBI de Marco Baravalle, Emanuele Braga e Gabriella Riccio. 

“Enquanto a elite financeira continua a usar o mercado de arte como um porto seguro para ativos financeiros, a pandemia da Covid-19 evidenciou ainda mais a fragilidade e precariedade de trabalhadores do meio artístico em todo o mundo. Este contexto alimentou a discussão em torno do Universal Basic Income (Rendimento Básico Universal). O manifesto Art for UBI defende que esta medida é condição necessária para repensar um modelo económico ecologicamente extrativista, corrigir assimetrias de raça e género e mudar a atual estrutura neoliberal do mundo da arte”, lê-se na descrição do projeto

Reunindo em formato livro um conjunto de ensaios de artistas sobre o Rendimento Básico Incondicional, Baravalle, Braga e Riccio, procuram não só criar uma publicação que informe este debate, como iniciar uma conversa alargada sobre as mudanças necessárias na nossa sociedade. Fruto dessa intenção, Baravalle e Braga estarão dia 29 de Junho (Quinta feira) no Teatro do Bairro Alto, em Lisboa, para uma apresentação ao vivo do seu manifesto e, antes disso, responderam por e-mail a uma pequena entrevista sobre a sua investigação. 

Emanuele Braga é ativista, artista, cofundador do Institute of Radical Imagination e membro de MACAO, estrutura onde fez experiências com Common Coin e Bank of the common. Contribuiu para as performances Income. The unconditional speech, no Wiener Festwochen em junho 2021, e em One income, many worlds, no Museo Reina Sofia, em setembro 2021. Marco Baravalle é ativista, investigador, cofundador do Institute of Radical Imagination e membro de S.a.L.E. Docks, coletivo independente que se dedica à relação entre arte, ativismo e gentrificação. Foi um dos contribuidores para a performance One income, many worlds, no Museo Reina Sofia, em setembro 2021.


Shifter (S.): Sei que pode ser uma pergunta difícil, mas dado que mergulharam no tema: são capazes de nos dar um retrato do horizonte do RBI? Quais são os principais obstáculos e quais seriam os principais ganhos globalmente?

Emanuele Braga (E.B.): Acho que temos de alterar essa perspectiva: a verdade é que o trabalho já não chega. A financeirização da economia e o desmantelamento e a precarização do trabalho tornaram impossível distribuir suficiente riqueza através do trabalho. Por essa razão, acredito que na área europeia devemos levar estes dois possíveis cenários a sério: por um lado, lutas pelo estado social que substitua e complemente a falta de salário pelo trabalho. Por outro, temos de nos preparar para grandes processos de expulsão e revolta social.

Marco Baravalle (M.B.): Se, como o Emanuele diz, o dinheiro do salário já não é a única forma de distribuição da riqueza, também é verdade que o grande obstáculo para pensar o nosso sistema da Europa, vem dos governos reacionários, por de trás de retóricas populistas, que uma vez no poder cortam no já fraco sistema de proteção social e decretam leis que aumentam a diferença entre os ricos e os pobres. Estamos a assistir a esse processo agora em Itália. Mas não é um problema exclusivo da extrema direita. A rigidez com que o Macron reagiu ao grande movimento francês contra a sua pensão de reformas é inacreditável. Por outro lado, estes movimentos em França mostram que mais camadas da sociedade estão a questionar em força a distribuição de rendimentos, e também o fazem em conexão com outros problemas, com a justiça ambiental.

S.: Ultimamente, com a emergência dos modelos generativos temos visto muita conversa sobre a possível desvalorização dos artistas. Contudo se entendermos como funcionam estes modelos vemos que não são criativos, não podem substituir artistas – quanto muito podem produzir objectos para ser transacionados nas mesmas cadeias de valor. Acham que isto tem mais a ver com o modelo económico do que com a arte em si? Acham que é importante colectivamente pensar o que é a arte e o que é o mercado da arte? 

E.B.: Eu não acredito que a IA esteja a roubar trabalhos de artistas. Acho que a relação entre a arte e a inovação tecnológica tem de ser interpretada de forma diferente. A [ideia de] criatividadea figura do artista, foi um laboratório para a transição do paradigma do trabalho operário para um paradigma pós-fordista. É um modelo de produção baseado em ser empreendedor de si próprio, flexível, colaborativo, multi-tarefa. Dentro deste paradigma das indústrias criativas, a organização social das plataformas digitais desenvolveu-se. O laboratório da criatividade e o excedente que esta continuamente reproduz são capturadas pelo capital em forma de inovação tecnológica. A criatividade dissolve-se na sociedade como uma aspirina num copo de água, como diz Paolo Virno no “Gramática da multitude”. Eu acrescento: que desse copo de água emergiu uma sociedade de controlo algorítimico e a automação dos nossos comportamentos. Por trás da I.A. está a inteligência coletiva de milhões de pessoas que contribuíram para as suas capacidades, centenas de milhar de trabalhadores mal pagos que invisivelmente mantém a infraestrutura e o seu funcionamento. Ao contrário das indústrias criativas, a arte mais do que nunca tem o papel de dar expressão à subversão, sabotagem, ao espaço para desautomatizar os circuitos tecnológicos de dominação. 

S.: Acreditam que o RBI podia ser importante também para libertar artistas da sua necessidade quase existencial de produzir para o mercado? 

E.B.: Eu não quero perpetuar a ideia da arte como um espaço de privilégio, criado por individuos que podem pagar por ela económica e culturalmente. O nosso amigo e camarada, Gregory Sholette, no “Dark Matter”, contrasta a enorme produção invisível de símbolos, arte, cultura, que se dá no ativismo e na cooperação social, com os poucos artistas reconhecidos como famosos pelo sistema artístico e o mercado. A imensa produção de arte, signos, e a cultura da própria sociedade está para os artistas famosos como a matéria negra no universo está para as poucas estrelas visíveis. Eu acredito que enquanto instituições artísticas, temos de construir dispositivos discursivos que existam dentro do social e das lutas. Enquanto o mercado da arte tende a mercantilizar o ativismo e a investigação militante, a estetizar as lutas, eu acredito no oposto: devemos compreender como os dispositivos expressivos podem tornar-se máquinas de guerra (no sentido em que Gilles Deleuze usa este termo) para organizar processos de libertação na sociedade.

M.B.: Quero acrescentar que é muito importante criar novas possibilidades de subjetivação dos artistas fora do mercado. Esse é um dos objetivos da arte radical, encontrar caminhos para a arte e para ser um artista (ou um trabalhador da arte) dentro, mas também contra e para além dos caminhos pré-definidos (escola de artes-bineal-museu-galeria). Isto não significa, como no senso comum de vanguarda, fundir a vida e a arte, mas antes ganhar uma nova autonomia para a arte, uma maior autonomia da presença pervasiva do capital.

S.: Acreditam que esta mudança é importante para desbloquear outras “lutas transfeministas e decoloniais”? Pode servir para mitigar desigualdades estruturais?

E.B.: A perspectiva feminista foi a primeira a focar-se neste ponto, a ir para além da interpretação que Marx fez da classe trabalhadora. As feministas afirmaram que um dos aspetos centrais da extração de capital reside na inivisibilização do trabalho reprodutivo. O capital sempre lucrou mais de ciclos de reprodução mais do que da exploração do trabalho assalariado. Na investigação que estamos a fazer em vários territórios europeus torna-se evidente que a cidadania e a raça são outros dois grandes dispostivos de exploração. Negar direitos iguais, e relegar indivíduos racializados aos trabalhos e às posições sociais mais degradantes, é uma alavanca incrível para a exploração e a acumulação de privilégio. Reconhecendo um Rendimento Básico Incondicional, e serviços sociais universais como a educação, a saúde, ou a habitação para todos, é, sem dúvida, uma medida que quebra a cadeia de chantagem e exploração. É uma forma de assegurar que todos os individuos têm acesso ao nível mais básico de segurança económica e aos serviços fundamentais, independentemente do seu contexto ou das suas circunstâncias.

M.B.: Vemos muitas vezes como as explorações do género, raça e classe se intersectam. Precisamos de encontrar formas de criar intersececionalidade positiva também. É por isso que, para além do impacto social, nos focados nos possíveis impactos do RBI no género, raça e nas desigualdades ecológicas. Se me permitem, um limite que é por vezes visível dentro do mundo da arte neste preciso momento é a atenção generalizada a perspectivas decoloniais e queer, mas enquadradas no sistema de aceitação geral do sistema neoliberal. Pelo contrário, eu concordo com a Combahee River Collective (um colectivo de feministas afro-americanas dos anos 1970) quando escreveram: “Nós somos socialistas porque acreditamos que o trabalho deve ser organizado para benefício colectivo daqueles que trabalham e para criar produtos, não lucros para os chefes. Os recursos materiais devem ser equitativamente distribuidos por aqueles que criam esses recursos. Nós não estamos convencidas, contudo, que uma revolução socialista que não seja também feminista e anti-racista, garanta a nossa liberação”

S.: Alguns críticos do RBI dizem que promover essa agenda – de dar dinheiro aos individuos – pode promover uma sociedade mais individualizada, provocar a desconexão de causas colectivas e um enfraquecimento do estado social. Como responderiam a esta crítica?

E.B.: Não faço ideia, não estou a tentar vender nada, mas a tentar compreender. E na investigação que temos feito ao ouvir as pessoas, eu fui-me apercebedo que as pessoas estão vulneráveis a depressão, burnoutbullying, a sentirem-se sós e isoladas, ao ponto de se despedirem dos trabalhos porque é esse trabalho que induz o individualismo, a solidão e a competição seletiva. O trabalho, não o RBI, torna-nos mais sós e competitivos. Para além disso, as pessoas quando têm acesso a serviços sociais e a apoios ao rendimento, geralmente, começam a cooperar. Fazem coisas que antes não se podiam dar ao luxo de fazer. Penso que é similar À gestão do tempo de lazer, tempo de nutrir relações, de brincar, para fazer algo com significado, para se organizar com base nas suas convicções. E não acho que alguém tema que dar mais tempo de lazer às pessoas possa resultar numa sociedade de individualistas competitivos. Parece-me absurdo e uma propaganda cheia de viéses e ideias pré-concebidas.

M.B.: Eu acho que tal afirmação é simplesmente uma mentira. O sistema neoliberal é baseado na ideologia da individualização. A cooperação é desincentivada, a nossa economia em rede é fruto da inteligência social, mas os seus frutos são escolhidos e colhidos apenas por lucro. Em vez disso, acreditamos que as medidas de garantia de rendimento e um sistema de segurança social sólido são instrumentos importantes para libertar todo o tempo atualmente investido na competição individual e dar mais espaço às dinâmicas colectivas e aos processos de cooperação.

S.: O vosso projecto tem várias vertentes, entre elas um livro com várias perspectivas sobre o RBI. Vocês identificam-se como artistas, mas o vosso trabalho foge à ortodoxia da produção de peças para o mercado e as galerias. Acham que é importante seguir esta via, criar pretextos para os artistas pensarem mais sobre o mundo e menos sobre a próxima exposição?

E.B.: A história da arte está cheia de artistas que disseram o que não podia ser dito, que mostraram o que os regimes políticos e culturais tentaram tornar invisível. A história da arte é também povoada por dissidentes políticos ou ativistas que fingiram ser artistas ou que usaram a arte como forma de exprimir os seus pensamentos sem serem directamente presos. A história da arte a que quero pertencer é povoada por este tipo de figuras. E deixo o desafio de procurar e estudar cuidadosamente a história da arte para além da superfície, porque não acredito que se encontre muitos artistas que tenham deixado marca sem pertencer a uma destas duas categorias.

M.B.: No meu caso, nem me identifico como artista. Normalmente apresento-me como activista, investigador e curador. Para mim, o Art for UBI é sobretudo uma ferramenta para experimentar um método performativo de investigação militante. Algo onde a política e a estética se intersectam. Talvez o Emanuele esteja certo, a nossa genealogia encontra-se principalmente nessa ‘outra’ história da arte (uma das várias que existem) e, de facto, o que caracteriza o nosso currículo é um logo compromisso com o activismo de origem popular.

S.: E quão importante é fazê-lo coletivamente? Acham que o caminho tradicional das artes tem dado lugar a artistas mais isolados? É necessário recuperar o tecido social neste aspeto?

E.B.: Eu tenho trabalhado como artista nos últimos 25 anos, e sempre assinei os meus principais trabalhos com assinaturas colectivas. Na verdade, mesmo quando assino um trabalho só com o meu nome e apelido, eu sei que, lá no fundo, estou a fazer batota. Tenho uma grande convicção de que os trabalhos, as acções, os discursos, e os textos que produzimos, são resultado de um complexas relações situadas. Eu não seria nada sem a rede de relações em que escolho operar. A autoria baseia-se mais nessa série de interdependências que escolhemos ou que calhamos a ter. Eu sozinho não sou nada. E o meu nome é sempre um anagrama, cujo significado está em constante evolução e implica inteligência colectiva, recursos não humanos, desejos e condições de opressão. É por isso que aconselho toda a gente, quando assina uma obra como autor único, a passar muito tempo a elucidar explicitamente a genealogia e as interdependências de que ela deriva.

M.B.: A resposta do Emanuele adequa-se perfeitamente ao meu caso. Mas deixa-me acrescentar uma coisa: para além de reconstituir o tecido social, eu acho que aquilo que habitualmente se chama arte radical também deve redescobrir o seu caminho para os conflitos e as lutas sociais. Muitas vezes, nas décadas passadas, a arte engaja socialmente apresentou-se muitas vezes com uma atitude de ONG, preocupada em reparar supostas micro-fracturas enquanto ignorava completamente as causas estruturais de tais danos.

NOTES FROM A PERFORMATIVE INVESTIGATION

by Marco Baravalle

published on ARCH+ #252 Open for Maintenance 2023

The Institute of Radical Imagination (IRI), founded in 2018, is a network of artists, academics, and curators working at the intersection of art and the commons. Their project Art for Universal Basic Income (Art for UBI)—consisting of a manifesto, a campaign, a book—advocates for an unconditional universal basic income (UBI) above the poverty threshold and focuses on the role of art worker struggles in the transition to post-capitalist forms of social organization. The project also includes a performance, which will premiere on the occasion of the German Pavilion’s opening on May 19, 2023, in the context of the 18th International Architecture Exhibition – La Biennale di Venezia, and will draw on the experiences of cultural workers in Venice and beyond. Ahead of the performance, its coordinator Marco Baravalle, a founding member of the IRI and Art for UBI, writes about the origins of the project and the structures and assumptions underlying the Venetian cultural scene. 

Art for UBI

The driving force behind our campaign is Art for UBI (manifesto), a collectively written text developed in online public assemblies convened alongside art worker protests during the COVID-19 pandemic. Published in 2021, the manifesto consists of 14 articles on the benefits of an unconditional universal basic income for art workers, as well as for workers more generally. It highlights the benefits not only in the realm of pay and artistic production, but also in the battle for trans-feminism, de-colonialism, and climate justice. Its drafting started from the premise that a systemic solution is needed to address the fragmentation of artistic labor and the by now normalized idea that everyone should be an “entrepreneur of himself.” Such a solution should be firmly opposed to the micro-corporatisms and competition typical of the neoliberal model, which blocks the formation of united battle fronts.

In Italy, the lockdowns of 2020 and 2021 were tough times for workers in the cultural and entertainment sectors, who had to fight for professional recognition in the form of the so-called quarantine pay. But if the halt imposed by the pandemic dramatically highlighted the importance of having access to reliable forms of income, it did so by exacerbating a structural feature of artistic work: that of discontinuity. In the realm of cultural production, discontinuity is the byproduct of the necessary preparation, bureaucracy, autodidactics, and the constant filling out of funding applications, but also of sexism, the erosion of rights, and blackmail directed at these professionals for whom precarity is so often an unavoidable part of the job. Art for UBI (manifesto) makes the case for a publicly granted income as a means to pay art workers for their enormous amounts of invisible labor and to give them the option of saying no to shit jobs and abuse.

In 2021, Art for UBI helped organize a protest in Venice against the neoliberalization of museums and the city’s cultural policies, a process which hinges on the precarization of labor. The protest was initiated by the Sale Docks collective—which I am part of—along with the cultural sector workers network Mi Riconosci? (Do You Recognize Me?). In Rome, Art for UBIjoined performing arts workers in the temporary occupation of the Globe Theater. That same year, in Madrid, Art for UBI was turned into a performance titled Una Renta Muchos Mundos / One Income Many Worlds, which was shown in the Museo Reina Sofía and various community spaces around the city. In October 2022, a new Art for UBI performance was shown at the Le Alleanze dei Corpi festival in Milan, this time with the title Incondizionatamente (Unconditionally). In this way, Art for UBI has transformed from a platform into a fundamentally hybrid assemblage challenging the separation between art and politics.

A Performative Investigation

The following notes are taken from a “self-investigation” carried out by Sale Docks in 2017. The goal was to cast light on the working conditions of those laboring in the giant culture factory of Venice. I refer to it as a “self-investigation” not only because of its relatively small scale (16 interviewees and around 50 questionnaires), but also because the sample of interviewees was structurally very similar to the composition of Sale Docks: aged between 25 and 40, white, majority women, many with a university degree. This is the typical profile of the cultural precariat that sustains the Biennale and its many spin-off businesses.

When I say “investigation,” I do not mean it in the traditional journalistic or sociological sense. I am thinking instead of the militant political tradition of the Italian workerists in the 1960s—those of the Quaderni Rossi journal, which was followed by Classe Operaia. The workerists broke away from traditional Marxism and, in part, from the Italian workers’ movement more generally. This was due, first and foremost, to an epistemological shift, intended to free revolutionary knowledge from its ideological shackles and put it to the test of reality by centering on a critique of labor. This did not lead to the end of dogma or blind trust in Marxist “sacred texts,” but rather to a rereading of these texts in light of how they played out on the ground—or, in the 1960s context, on the factory floor in the industrial centers of northern Italy. The so-called Conricerca (Co-research)—a research methodology put forward, in particular, by Romano Alquati—was not a quest for knowledge on the subjects but with the subjects, implying an end to the distinction between the theoretical and the political. It offered a way to interpret the process of knowledge production not as a single moment prior to a transformation in the status quo, but as a participant in the transformation itself.

The Sale Docks initiative of self-investigation continues, although it has taken on the hybrid form of a performance within the assemblage of Art for UBI. Through performance, Art for UBI is able to create a space of radical autonomy. According to philosopher Jacques Rancière, such autonomy is one of the oppositions that characterizes art, and also a sign of art’s radical nature. Rancière sees art as defined by its ability to construct an elsewhere in respect to the social context in which it is produced, with its miseries and violence, and to function as a force for the “distribution of the sensible,” pointing to potential new forms of communal living. In today’s era of neoliberal art, however, the condition of this autonomy is not—as classical aesthetics and common sense would have it—the astronomical distance between art and life, but rather the distance, yet to be created, between art and capital: an inherently social issue which Art for UBI needs to tackle head-on.

It goes without saying that carrying out an investigation of workers today is not the same as during the 1960s. The main arena of class struggle, at least in Europe, is no longer the Fordist factory. Furthermore, it must be said that while the workerists correctly identified the points at which the broadest class ruptures would occur—the mass worker (operaio massa) first and the social worker (operaio sociale)later—our goal here is much less ambitious: realistically, perhaps our investigation/performance can make a little headway in an analysis of the subjectivity of the artistic precariat. As such, certain  questions have come to form the basis for our work: Is it possible to do an investigation through a performance? Is it possible to do so in a way that does not result both in a sub-par investigation and a sub-par performance? What even is a performative investigation? Is it simply a study with a performance as its output? What type of knowledge does it generate? Is staging an investigation into a particular segment of cultural work a gesture that begins and ends with the staging itself, or is it an action capable of forging alliances, further actions, and routes to community building and collective action? Can a performance help us advance the struggle for rights and fair pay? Is it possible to make the performance an autonomous space without feeding into the apparatus of capture that is the neoliberal dispositif of art? To hint at least at some of the responses to these complex questions, we can look to the results of the Sale Docks self-investigation, which highlights some of the thornier issues. Issues that, at this point, I will leave it to our interlocutors to voice.

May I switch to English?”—the culture industry’s global supply chain

This phrase, says Antonia, was the exit strategy of choice for her US temporary employer whenever they wanted to avoid sensitive topics such as contracts, back pay, or work trips. Antonia is a university student in Venice and she attends a few training courses run by non-profit cultural organizations. As a first job, she worked off the books for one of the big Venetian events companies with strong ties to the Biennale. For five months, she regularly worked over eight hours a day, having been left in charge of running ten exhibitions—alone, and in spite of her lack of experience. Her duties included handling press, hooking up internet in the exhibition spaces, managing staff, writing daily reports on the condition of displayed works, and everything in between. All of this for two or three hundred euros a month, paid in cash. We are not talking about a start-up here, but about companies managing dozens of properties in Venice; during the Biennale, the rent for these places runs to hundreds of thousands of euros, ensuring healthy profit margins. Understandably dissatisfied with this situation, Antonia decided to leave. She wanted to strike out on her own and set up a business with friends and classmates. She registered for a VAT number but soon realized that being a freelancer was not really a suitable option, the fiscal regime being too rigid for someone with a low and inconsistent income like hers. In the absence of any financial safety net, she quit. But now that she had cut her teeth in the field, she was contacted by the head of another small company working in cultural events. It was an international company based in a European capital, with links to Venice on account of the Biennale and its international showcasing opportunities. Antonia’s first conversation with them was brief: “Hi Antonia, I need a personal assistant.”—“When?”—“Can you move here by Monday?” She accepted the role, but it was the same tune. Her boss was late in providing her with a work contract, the pay was insufficient, the hours long. She started to receive requests from the company manager unrelated to work. Nobody helped her make professional connections. In fact, Antonia found herself systematically excluded from social events and, eventually, decided to move back to Venice and re-enroll in university. She says she needed to remind herself why she had chosen the artistic field in the first place. So much of her experience is typical of work in the cultural sector, in which the chain of exploitation, defined by informality and working off the books, begins at university and then extends to a global scale.

“There has to be a third way in between all the young people working for reduced rates and the big companies forming oligopolies to inflate prices”—labor market distortions

Giorgio has been running a nonprofit contemporary art space through a cultural association in Venice since 2010. He did not take his first salary until 2016 and he is still waiting to earn back the 20,000 euros he put down as an initial investment. His comment—reported above—touches on two issues that kept coming up during our conversations with art workers. The first is the difficulty of operating as a legal enterprise in a market where newcomers work for next to nothing in exchange for building a portfolio, thereby undercutting those small businesses that demand larger investments in hopes of securing fair pay for themselves and their collaborators. It must be emphasized, however, that newcomers are certainly not the biggest culprits in this regard. On the contrary, the worst offenders come when we move up the chain from self-employment and small businesses to the multi-million-dollar business of contracting out cultural services—so-called “outsourcing.” Big firms that share the market for these services at a national level are undoubtedly the ones profiting most from underpaid workers. At the other end of the spectrum is the second issue, which is very specific to Venice and its prosperous industry of cultural events. Here, a handful of wealthy companies are in charge of an enormous quantity of real estate, including palazzi and other prime locations. They rent these out to the highest bidder, paying little or no attention to the nature of the project at hand. These companies have come to function as the “landlords” of culture, turning the extraction of profit into a culture in itself. This is not artistic production; it is an artistic rental market. In an emptied-out city, the rental companies are custodians of the emptiness. Art is the perfect decoy, enabling them to spin profit from a void. It may seem different, but it is exactly the same logic that drives the market for short-term holiday rentals. Art is simply the latest agent of touristification in a city already on its knees.

“Entrepreneurs make money from products. Associations, on the other hand, have to find money to make a product that doesn’t generate any profit of itself”—the difference between businesses and associations

Most event organizers in Venice are associazioni culturali, or cultural associations. Simona is a member of one that focuses on live art and experimental music. She lived in Venice for 17 years before being forced to return to the mainland. Her job in the cultural sector had ceased to be financially viable, and she was no longer willing to supplement it by working as a cleaner for a tourist rental agency. For her, it is clear that the solution to the endemic precarity of art work is not everyone becoming an entrepreneur of themselves. She rejects the idea that we should always expect cultural production to conform to the logic of business. “Instead,” she says, “culture should be financed through a legal structure such as that of the association, which is formally bound to prioritize content over profits.” In our current legal context, however, this alone is often not enough. For obvious reasons of conflict of interest, members of an association do not take a share of the profits; instead, we need guidelines regarding how to pay them and any potential collaborators for their work. More public funding programs should be open to associations, rather than exclusively to cultural businesses. Associations, unlike businesses, are inherently concerned with the social development of the place where they carry out their activities, but the social cohesion they bring has yet to be deemed valuable in economic or political terms. Talking to Simona raised a crucial point: There is a whole world of young professionals out there who do not want hand-outs from the state, but simply to be in the position to put their talents to use and have their work recognized. Entrepreneurial individualism is often the professional reality for cultural workers, but associations offer the possibility of a collective alternative. An example? For several months, Simona’s association has been holding open meetings with similar organizations operating in Venice. It is still early days, but the first three meetings led to the idea of building an online platform listing everyone’s services and finding a physical space in which they can share skills and technical equipment.

“I’ve never really thought about a universal basic income … welfare is good, but for everyone, not just for cultural workers”—the misunderstanding of welfare as privilege

Roberto’s opinion was one that came up a lot in the interviews. Many people did not have much of an opinion about an unconditional universal basic income.

Others, in keeping with the neoliberal discourse, maintained that competition is the only route to professional validation, as well as an incentive to make high-quality content. Regardless, almost everyone was pro-social welfare, so long as “it’s for all jobs, not just a few.” The different rationales for this radically anti-corporate position—a position shared by Art for UBI—are interesting. While a minority of cases had political motives, the vast majority of interviewees seemed to have a general feeling of guilt and embarrassment at being paid in a form other than wages or invoices. There was a widely shared perception that welfare is a privilege, not a right. This ambiguity around rights and privileges is a constant in the field of cultural work. The

idea of having rights makes workers uncomfortable. The concept that their invisible, unpaid labor should, and could, be financially compensated seems largely alien to them. For many young people, the few salaried positions that have survived the relentless outsourcing of the culture industries are the privilege of a group of “untouchables”—older workers with permanent contracts, who are now demotivated and resistant to change. It is worth noting that, of all the interviewees, only one mentioned—correctly—that a universal basic income differs from traditional welfare, in that it constitutes a structural way to value life according to the terms of the current system of production. Most interviewees acknowledged, at least in part, this value system: they know they are creating value when they organize an event, transform an apartment into a cultural center, or share original content online, yet it rarely seemed to occur to anyone that this labor should be financially compensated.

“I’ve realized that, in this city, volunteering is important.”—the creative bohemian

This is another quote from Roberto, who collaborates every so often with one of the city’s small cultural spaces. The space is run on a nonprofit basis by a group of young people who use it to host events such as concerts, book launches, workshops, small exhibitions, and meetings. I have to admit Roberto’s comment surprised me. It echoes those of several other interviewees who have found ways to integrate informal cultural projects into their lives. Roberto had never considered that the space could be a fertile ground for developing his own artistic work. This is partly because it does not have all the technical equipment he needs, but mainly because he sees his presence there as something he does to volunteer and show support to his friends who run it. In this sense, there seems to be a clear division between the independent cultural scene, where one volunteers, and formalized working arrangements, where one makes serious art.

Nicoletta expressed a largely similar view, commenting on the phenomenon of turning private apartments into temporary spaces for small-scale cultural activities. She told me, “It’s not so much about the specifics of the show or the concert. It’s more that, in a city that’s so completely overrun, it’s truly fulfilling to have somewhere just to be with friends, to share a drink … no one’s there talking about careers.” No career talk, thankfully. But what we could call Venice’s “independent scene” is clearly perceived as a refuge, as an interruption to the stretched-out time dedicated to performing labor. It is not that conviviality and building relationships cannot themselves serve the function of aesthetic variables, but this is not the point. The point is that this apparent pause in the cycle of value production, characterized by informality, is in reality one of the classic tools of neoliberal urban transformation, which exploits “the creative bohemian.” In Venice these initiatives luckily function more as ways to reclaim and decommodify for-profit spaces, rather than as bridgeheads for the gentrification that has been ravaging the city for years leading to the exodus of its inhabitants. Still, the lack of self-reflection within the independent scene, and its reduction to a space of conviviality, serves to keep it subaltern to the city’s institutional landscape and the dominance of the industry of cultural events.  

Conclusion

In 1971, Danilo Montaldi published his Militanti politici di base (Grassroots Political Activists), a collection of testimonials from activists based in the lower Po valley, gathered through conversations and interviews. The book retains the spoken syntax of these interactions, including the use of dialect. This is a history from below, presenting the lived reality of the political struggle of the late 19th century, to the years of antifascist resistance, to the struggles of the 1960s. In the introduction, Montaldi writes of the conflicting character of some of these voices: “In addition to the life forms, worldviews, and ideologies that endure and accompany contemporary man, and not just in his moments of weakness … are others that come to establish themselves, suitable for and in keeping with the changing times but which are also clearly anticipatory; a premise. It may seem odd to talk of anticipation and ‘memories’ in the same breath, but, as you will see, the animating force for these various subjectivities is always a certain conflict with historical time, which extends from political reasonings to all of life’s norms and customs.” Times have changed, along with contexts and methods, but it is worth taking note and keeping this passage in mind as we set forth on our Venetian campaign—because art and militant investigations have at least one thing in common: when they insist on having the last word, they end up becoming a gravestone for the possible; but when they succeed in embracing what is yet to come, they retain the radical character of a premise.

  • 1 See Institute of Radical Imagination, Art for UBI (manifesto), eds. Marco Baravalle et al. (Venice: Bruno, 2022), accessed March 14, 2023, instituteofradicalimagination.org/the-school-of- mutation-2020/som-iterations/art-for-ubi/.
  • 2 Michel Foucault, The Birth of Biopolitics: Lectures at the Collège de France, trans. Graham Burchell (Lon- don: Palgrave Macmillan 2004), 226.
  • 3 See Romano Alquati, Per fare conricerca (Rome: Derive Approdi, 2012).
  • 4 See Jacques Rancière, Aesthetics and Its Discontents, trans. Stephen Corcoran (Cambridge: Polity, 2009) 43–44.
  • 5 “What we must therefore recognize both in the linear scenario of modernity and postmodernity, and in the academic opposition between art for art’s sake and engaged art, is an originary and persistent tension be- tween the two great politics of aesthetics: the politics of the becoming-life of art and the politics of the resistant form. The first identifies the forms of aesthetic expe- rience with the forms of another life. The finality it as- cribes to art is to construct new forms of life in common, and hence to eliminate itself as a separate reality. The second, by contrast, encloses the political promise of aesthetic experience in art’s very separation, in the resistance of its form to every transformation into a form of life.” Ibid.
  • 6 Operaio massa and operaio sociale are two diffe- rent subjectivities formulated by the Italian workerists. Operaio massa is understood as the typical assembly line worker who is only responsible for a very small task within an automated process of production and, as a result, becomes disqualified as an “unskilled” worker. Operaio sociale is a worker who identifies with the work- ing class, although they are not necessarily subjected to the classic Fordist relationships of production which tra- ditionally take place inside the factory, but more gene- rally to capitalist relations of production that extend into all economic sectors. See Antonio Negri, “Proletari e Stato: Per una discussione su autonomia operaia e compromesso storico” in Libri del rogo (1976, reprint, Rome: Derive Approdi, 2006), 144–45.
  • 7 See Danilo Montaldi, Militanti politici di base (Turin: Einaudi, 1971).
  • 8 Ibid., XI.

WHY ARE ALTERNATIVE TO ART SCHOOLS ON THE RISE?

We invite you to read the article by Kuba Szreder on Art Review

Including reflections on IRI activities like the platform around the Art for UBI (manifesto) and The School of Mutation, one answer, argues sociologist Kuba Szreder, is that formal art education simply teaches students how to take part in the art market. Here Szreder, who helped set up the Free/Slow University of Warsaw, a set of discussions, strike actions and publications responding to art and academia’s frenetic pace, explores the potential that lies beyond the traditional institutions of art education.

  • Neoliberalism and the contemporary applications of really useful knowledge
  • Against artistic exceptionalism
  • F/SUW: reclaiming time
  • Art for UBI: reclaiming social imagination
  • Le Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC, the Congolese Plantation Workers Art League): reclaiming resources
  • Radical pragmatism of really useful knowledge

INCONDIZIONATAMENTE Vita Reddito Amore | Performance

Italiano | English

Basket Court, Piazza Selinunte Milan | September 30th 2022 at 6 pm followed by the Panel The Art of the Commons + October 1st 2022 at 5 pm | In the framework of FAROUT Festival/Base MIlano & Walk the red line Festival/Le Alleanze dei Corpi

BASED ON AN IDEA BY

Anna Rispoli

for the Wiener Festwochen 2021
CONCEPT, DRAMATURGY, DIRECTION

Emanuele Braga, Gabriella Riccio (Institute of Radical Imagination) & Anna Rispoli

TEXT

Emanuele Braga, Gabriella Riccio (Institute of Radical Imagination) & Anna Rispoli + 11 inhabitants of Milan

INTEINTERVIEWS

Laila Sit Aboha, Iman Salem

WITH THE PARTICIPATION OF

Samuel Adoma, Fabrizio Bassani, Nadia Belatik, Ale Cane, Ivan Carozzi, Yuri Simone D’Ostuni, Osasele Eromosele/Iman Salem, Simona Franzé, Federico Fumagalli, Roberto Mastroianni/Lorenzo Fidanzi, Vincenzo Pizzolante/Dario Leone, Gabriella Riccio e Anna Rispoli.

A PRODUCTION BY

Institute of Radical Imagination

PARTNERS

Base Milano, Le Alleanze dei Corpi, Landscape Choreography

Credits Incondizionatamente

UNCONDITIONALLY. Life Income Love

What would the world be like if everyone had enough money to lead a worthy life? What if everyone got a universal and unconditional basic income?

Starting from the Art for UBI (manifesto), IRI proposes discussions on the role that art and the world of cultural production should have in the struggle for financial redistribution based on mutualism, on the methods of self-management of resources, on access to the means of production. and other solidarity practices.

With performance UNCONDITIONALLY. Life Income Love, people of different backgrounds and working conditions gather in a choreographed assembly to discuss the impact that a universal and unconditional income would have on their lives. Is the RBUI a “simple” financial measure or a fundamental tool for a radical alternative to the neoliberal reality in which we live? What would it be like if income and working hours weren’t linked? If you could say no to the blackmail of precariousness? End the race and gender asymmetries so common in today’s labor market? Detoxify the planet from ecologically dangerous jobs? Caring and helping each other in the face of the endless invitation to be competitive individuals? These are some of the questions that inspire public dialogue.

On this occasion, an IRI team worked to adapt Anna Rispoli’s proposal and produce a performance that takes up these lines through a series of interviews with a group of people who live and work in Milan and who are interpreters of this representation.

Emanuele Braga
Gabriella Riccio
Anna Rispoli

Emanuele Braga is an artist, theorist and activist. Co-founder of the MACAO assembly of artists (2012), as well as of the dance company Balletto Civile (2003), of the contemporary art project Rhaze (2011), Landscape Choreography (2012), and member of the Institute of Radical Imagination. His research focuses on alternative models of cultural production, processes of social transformation in relation to digital technologies, political economy, labor rights and the institution of the commons.

Gabriella Riccio, choreographer and performer artist lives between Naples and Madrid. She founded Caosmos (2001) and ciagabriellariccio (2003). She is an activist in the movement of commons and self-governing cultural spaces, she is an “inhabitant” of L’Asilo-Ex Asilo Filangieri in Naples (2012) and co-founder member of the Institute of Radical Imagination (2018). Gabriella works at the intersection of aesthetics, ethics and politics in contemporary prefigurative practices on the border between performance, artistic creation and activism.

gabriellariccio.it

Anna Rispoli works on the border between artistic creation and activism, to explore in a performative way the triangulation between man-city-identity and to test possible affective appropriations of the public territory. The forms vary according to the conceptual needs of each project. Anna Rispoli is part of the Common Wallet, a red informal de economía solidaria that persuades a “polyamorous relationship with money”.

annarispoli.be


Milan, Piazzale Selinunte – October 1, 2021

Milan, KinLab – September 30, 2021

THE ART OF THE COMMONS | Panel

Basket Court, Piazza Selinunte, Milan – September 30th at 7 pm

Free entrance

MODERATOR

Emanuele Braga

WITH

Marco Baravalle, Kuba Szreder, Alberto Cossu, Gabriella Riccio, Massimiliano Mollona

Recent publications will be presented on the theme of precariousness and income: Art for UBI (manifesto), The ABC of the Projectariat: Living and Working in a Precarious Art World, Art/Commons, Autonomous Art Institutions Artists Disrupting the Creative City.

PROFILES

Kuba Szreder is a researcher, lecturer and independent curator, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. He has co-curated many interdisciplinary projects hybridizing art with critical reflection and social experiments. He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, the UK, and other European countries. In 2009 he initiated the Free / Slow University of Warsaw, and in 2018 he established the Center for Plausible Economies in London, a research cluster investigating artistic economies. His most recent book The ABC of the projectariat. Living and working in a precarious art world, was published by the Whitworth Museum and Manchester University Press in December 2021.

——

Alberto Cossu is a sociologist and media scholar who does research at the intersection between digital media and activism qualitative and digital methods collaborative and digital economies. Before joining the University of Leicester he was Lecturer in New Media & Digital Culture at the University of Amsterdam and previously a Research Fellow at the Department of Social & Political Sciences University of Milan where he has obtained his PhD in Sociology. During his PhD he has conducted research on the mobilisation of knowledge and art workers in Italy; within the EU project P2PValue he was part of an international team led by Prof. A. Arvidsson on peer-to-peer models of organisation and production in Italy and France on digital economy and co-working spaces in Italy and Thailand.

——

Marco Baravalle is a member of S.a.L.E. Docks, a collective and an independent space for visual arts, activism, and experimental theater located in what had been an abandoned salt-storage facility in Dorsoduro, Venice. Founded in 2007, its programming includes activist-group meetings, formal exhibitions, screenings, and actions. In addition to managing the diverse programming at S.a.L.E. Docks, Baravalle is currently a research fellow at INCOMMON (IUAV University of Venice). His fields of research include the relationship between art, theatre and activism, creative labor, gentrification, and the positioning of art within neoliberal economics.

——

Emanuele Braga co-founder of Macao center, an artist, researcher and activist. In addition to his work at Macao, he co-founded the dance and theatre company Balletto Civile (2003), the contemporary art project Rhaze (2011), as well as Landscape Choreography (2012), an art platform questioning the role of the body under capitalism. His research focuses on models of cultural production, processes of social transformation, political economy, labor rights and the institution of the commons.

——

Massimiliano (Mao) Mollona writer, filmmaker and anthropologist. He has a multidisciplinary background in economics and anthropology and his work focuses on the relationships between art and political economy. He conducted extensive fieldworks in Italy, UK, Norway and Brazil, mainly in economic institutions, looking at the relationships between economic development and political identity through participatory and experimental film projects. His practice is situated at the intersection of pedagogy, art and activism.  Mollona is a founding member of the  LUC Laboratory for the Urban Commons (LUC), Athens.

——

Gabriella Riccio is an artist, activist and independent researcher. Since 2000 she has been active as choreographer, as well as cultural advisor. Since 2010 Gabriella is engaged in the movement for the commons, artworkers struggles and the Italian movement of self-governed cultural spaces, where as a resident member of L’Asilo – Ex Asilo Filangieri in Naples, she contributed to the Declaration of urban civic and collective use. She is regularly invited as keynote, public speaker and lecturer on practices of commoning and governance. She contributed to EU participatory policy development within the framework of EU Citizen’s Engagement and Deliberative Democracy Festival, EU projects Cultural and Creative Spaces and CitiesDISCE Developing Inclusive Sustainable Creative Economies, Creative Lenses. She contributed to several publications, a.o. Home of Commons, online toolkit for participatory development  2021, Per un approccio sistemico al patrimonio culturale: usi civici e beni comuni. Il caso dell’Ex Asilo Filangieri di Napoli in Visioni al Futuro 2018, La pratica dell’uso civico come scelta estetica etica e politica per il sensible comune in Stefano Rodotà, I beni comuni. L’inaspettata rinascita degli usi collettivi, 2016, L’Asilo as a case study for Creative Lenses,  and L’Asilo in Models to Manifestos, 2019.  Gabriella is a co-founding member of the Institute for Radical Imagination.

L’ARTE DEI COMMONS | Panel

Campo di Basket, Piazza Selinunte Milano

30 Settembre 2022 ore 18:00

Accesso libero

MODERA

Emanuele Braga

CON

Marco Baravalle, Kuba Szreder, Alberto Cossu, Gabriella Riccio, Massimiliano Mollona

Saranno presentate recenti pubblicazioni intorno al tema della precarietà e del reddito: Art for UBI (manifesto), The ABC of the Projectariat: Living and Working in a Precarious Art World, Art/Commons, Autonomous Art Institutions Artists Disrupting the Creative City.

BIO

Emanuele Braga co-fondatore del Macao center, artista, ricercatore e attivista. Oltre al suo lavoro a Macao, ha co-fondato la compagnia di danza e teatro Balletto Civile (2003), il progetto di arte contemporanea Rhaze (2011) e Landscape Choreography (2012), una piattaforma artistica che mette in discussione il ruolo del corpo sotto il capitalismo. La sua ricerca verte sui modelli di produzione culturale, sui processi di trasformazione sociale, sull’economia politica, sui diritti del lavoro e sull’istituzione dei beni comuni.

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La pagina è in costruzione….

INCONDIZIONATAMENTE Vita Reddito Amore | Performance

Italiano | English

Campo di Basket, Piazza Selinunte Milano 30 Settembre ore 18:00 a seguire il Panel L’Arte dei Commons + 1 ottobre ore 17:00 Nell’ambito di FAROUT/Festival Base & Le Alleanze dei Corpi

Basato su un’idea di Anna Rispoli
Idea Drammaturgia Regia: Emanuele Braga, Gabriella Riccio (Institute of Radical Imagination) & Anna Rispoli
Testo: Emanuele Braga, Gabriella Riccio (Institute of Radical Imagination) & Anna Rispoli + 11 abitanti di Milano
Interviste: Laila Sit Aboha, Iman Salem
Con la partecipazione di: Samuel Adoma, Fabrizio Bassani, Nadia Belatik, Al Cane, Ivan Carozzi, Yuri Simone D’Ostuni, Osasele Eromosele/iman Salem, Simona Franzé, Federico Fumagalli, Roberto Mastroianni/Lorenzo Fidanzi, Vincenzo Pizzolante/Dario Leone, Gabriella Riccio e Anna Rispoli.
Una produzione Institute of Radical Imagination
Partners: Base Milano, Alleanze dei Corpi, Landscape Choreography

UNCONDITIONALLY. Life Income Love

Campo di Basket, Piazza Selinunte Milano, Settembre 2022
Credits Incondizionatamente

Come sarebbe il mondo se tutt* avessero sufficiente denaro per condurre una vita degna? Se tutt* ricevessero un reddito di base universale e incondizionato?

Partendo dall’Art for UBI (manifesto), l’IRI propone discussioni sul ruolo che l’arte e il mondo della produzione culturale dovrebbero avere nella lotta per la redistribuzione finanziaria basata sul mutualismo, sulle modalità di autogestione delle risorse, sull’accesso ai mezzi di produzione e altre pratiche solidali. 

Con la performance INCONDIZIONATAMENTE. Vita Reddito Amore,  persone di diversa estrazione e condizione lavorativa si riuniscono in un’assemblea coreografata per discutere dell’impatto che un reddito universale e incondizionato avrebbe sulle loro vite.  Il RBUI è una “semplice” misura finanziaria o uno strumento fondamentale per un’alternativa radicale alla realtà neoliberista in cui viviamo? Come sarebbe se guadagno e ore di lavoro non fossero legati? Se si potesse dire no al ricatto della precarietà? Porre fine alle asimmetrie di razza e genere così comuni nel mercato del lavoro di oggi? Disintossicare il pianeta da lavori ecologicamente pericolosi? Prendersi cura e aiutarsi a vicenda di fronte all’infinito invito a essere individui competitivi? Queste sono alcune delle domande che ispirano il dialogo pubblico.

In questa occasione, un team dell’IRI ha lavorato per adattare la proposta di Anna Rispoli e produrre una performance che riprende queste linee attraverso una serie di interviste ad un gruppo di persone che vivono e lavorano a Milano e che sono interpreti di questa rappresentazione.

What would the world be like if everyone had enough money to lead a worthy life? What if everyone got a universal and unconditional basic income?

Starting from the Art for UBI (manifesto), IRI proposes discussions on the role that art and the world of cultural production should have in the struggle for financial redistribution based on mutualism, on the methods of self-management of resources, on access to the means of production. and other solidarity practices.

With performance UNCONDITIONALLY. Life Income Love, people of different backgrounds and working conditions gather in a choreographed assembly to discuss the impact that a universal and unconditional income would have on their lives. Is the RBUI a “simple” financial measure or a fundamental tool for a radical alternative to the neoliberal reality in which we live? What would it be like if income and working hours weren’t linked? If you could say no to the blackmail of precariousness? End the race and gender asymmetries so common in today’s labor market? Detoxify the planet from ecologically dangerous jobs? Caring and helping each other in the face of the endless invitation to be competitive individuals? These are some of the questions that inspire public dialogue.

On this occasion, an IRI team worked to adapt Anna Rispoli’s proposal and produce a performance that takes up these lines through a series of interviews with a group of people who live and work in Milan and who are interpreters of this representation.

.


Milan, Piazzale Selinunte – October 1, 2021

Milan, KinLab – September 30, 2021

ART FOR UBI (Manifesto) #3 | Assembly

Art for UBI Terraforming, courtesy of Emanuele Braga

Location / Lugar Museo Reina Sofia, Edificio Sabatini Jardin Date / Fecha: September 17 19:00

with Andy Abbot, Emanuele Braga, Marco Baravalle, Érik Bordeleau, Ilenia Caleo, Anna Cerdà Callís, Kuba Szreder.


Art for UBI Terraforming, courtesy of Emanuele Braga
Art for UBI Terraforming, courtesy of Emanuele Braga

Third public assembly organized by the ART for UBI (Manifesto) an initiative born within the framework of the activities of The School of Mutation by the Institute of Radical Imagination. The Pandemic of Covid19 has been correctly defined as a syndemic. The term clearly shows how pre-existing conditions of social, race, gender and environmental asymmetries, influenced the impact of Covid19, exposing to serious consequences poor and precarious workers, women and lgbtqia+ subjectivities, racialized and indigenous people and those living in areas more subjected to pollution and extractivism. In Europe (and elsewhere) thousands of billions of Euros are allocated to respond to the crisis. Unfortunately, at least from European perspective, it looks like the vast majority of these funds will go to the supply side, in the vain hope that financing private companies will have an overall positive impact on society. The result will be a further polarization of global richness, and the progressive impoverishment of millions of people. Contrary to this option, It is time to support the implementation of forms of universal, basic and unconditional income. We believe UBI is a struggle of primary importance in order to finally achieve a fair remuneration for the value freely extracted from our lives on a daily basis (for example through platform capitalism and through the still invisible care work performed mainly by women). We believe UBI will have a radical impact on social life, not only in terms of reducing poverty and precarity, but also freeing time and energies to build worlds where care, mutual aid and the commons become priorities.

Using the ART FOR UBI [Art for Universal Basic Income] Manifesto as its starting point, the IRI has been proposing discussions on the role that art and the world of cultural production should play in the fight for financial redistribution based on mutualism, methods of self-management of resources, access to the means of production and other solidarity practices. This activity begins in the Museum’s Sabatini Garden, with a “performative round table” based on the proposal of the artist Anna Rispoli, who regularly works on topics such as remuneration, income and the UBI (universal basic income), mixing performance, social research and conducting real experiments on how to share assets and financial resources.


PROFILES

Andy Abbot is an artist, musician and cultural activator. He has exhibited and performed as a solo artist and in various collaborations, including the Black Dogs art collective. He participates in different projects as a musician, both solo and in groups, and composes music for film, performance and installations. In 2012 he obtained his PhD from the University of Leeds with his thesis “Art, self-organized cultural activity and the production of post-capitalist subjectivity”.

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Marco Baravalle is a member of S.a.L.E. Docks, a collective and an independent space for visual arts, activism, and experimental theater located in what had been an abandoned salt-storage facility in Dorsoduro, Venice. Founded in 2007, its programming includes activist-group meetings, formal exhibitions, screenings, and actions. In addition to managing the diverse programming at S.a.L.E. Docks, Baravalle is currently a research fellow at INCOMMON (IUAV University of Venice). His fields of research include the relationship between art, theatre and activism, creative labor, gentrification, and the positioning of art within neoliberal economics.

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Emanuele Braga co-founder of Macao center, an artist, researcher and activist. In addition to his work at Macao, he co-founded the dance and theatre company Balletto Civile (2003), the contemporary art project Rhaze (2011), as well as Landscape Choreography (2012), an art platform questioning the role of the body under capitalism. His research focuses on models of cultural production, processes of social transformation, political economy, labor rights and the institution of the commons.

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Anna Cerdà Callís is a manager and cultural activist. She has been working in the MACBA Department of Exhibitions since 2005, a task that she combines with the field of music. She co-directed the popArb festival (2005-2015) and since 2017 she is involved in the design and organization of Acció Cultura Viva. She is also part of the governing council of La Murga, and participates in MIM (Women of the Music Industry) and the board of the Xàfec association of small festivals.

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Ilenia Caleo is performer and researcher in queer studies and feminist epistemologies at the IUAV University of Venice. She is among the co-founders of Campo Innocente, a network founded after the pandemic outbreak to defend art workers rights and to promote UBI.

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Érik Bordeleau is a researcher at the SenseLab of the Université Concordia de Montreal and the Center for Arts, Business and Culture of the Stockholm School of Economics, which he combines with his activity as a fugitive financial designer at the Economic Space Agency (ECSA). His work is articulated at the intersection of political philosophy, media and financial theory, contemporary art, and film studies. He is currently working on creating a Master’s program in Cryptoeconomics at the Global Center for Advanced Studies (GCAS) with campuses in Dublin and New York.

EINKOMMEN. DIE BEDINGUNGSLOSE REDE by Anna Rispoli | Performance

English | Deutsch

After joining the Art for UBI (manifesto) Platform in 2020, Anna Redi presented the first performance based on the Art for UBI (manifesto) for the opening of the Wiener Festwochen 2021 in collaboration with Institute of Radical Imagination. Since then the Institute of Radical Imagination & Anna Redi have realised all the following performaces based ion the Art for UBI (manifesto) in Madrid, Milan, Venice.

Concept, Direction Anna Rispoli

In collaboration with Emanuele Braga, Maddalena Fragnito, Britt Hatzius, Irena Radmanovic, Common Income, ART for UBI, Institute of Radical Imagination, Volksbegehren Grundeinkommen: Runder Tisch Grundeinkommen Österreich, Generation Grundeinkommen, Verein Das Grundeinkommen, Attac Österreich, Runder Tisch Grundeinkommen Salzburg, Netzwerk Grundeinkommen Research,

Interviews Magdalena Fischer

Text Anna Rispoli, Katja Dreyer and 15 citizens of Vienna Production management Marine Thévenet

A commission and a production by Wiener Festwochen 2021

INCOME. The unconditional speech

Eröffnungsrede der Wiener Festwochen 2021

How would we organise our lives if we didn’t have to earn a living? Indeed, what would we do if our livelihood was secured? In 2021, the Wiener Festwochen will once again open with a discursive debate; artist and activist Anna Rispoli is elaborating a choral speech on unconditional basic income. It is an appeal to reflect on distributive justice, precarity and sustainability. Based on interviews with Viennese citizens and against the backdrop of a work environment thrown even more out of sync by a virus, Income. The unconditional speech sees our present-day utopia as tomorrow’s realities. How would unconditional basic income redesign our lives, our towns and cities, society, and the world as a whole? Rispoli’s interventionist art practices aim to change the public space and are founded on the principle of affective mutual contamination. When words uttered by others pass through our own mouths, a form of non-monetary exchange is able to occur. An economy like we have never seen before!

Wie würden wir unser Leben organisieren, wenn wir nicht von Erwerbstätigkeit abhängig wären? Wenn für unsere Lebenserhaltung gesorgt wäre – was würden wir tun? 2021 eröffnen die Wiener Festwochen erneut mit einer diskursiven Debatte; die Künstlerin und Aktivistin Anna Rispoli gestaltet eine chorische Rede zum bedingungslosen Grundeinkommen. Ein Appell, über Verteilungsgerechtigkeit, Prekarität und Nachhaltigkeit nachzudenken. Basierend auf Interviews mit Wiener*innen und vor dem Hintergrund einer durch ein Virus erst recht aus dem Lot geratenen Arbeitswelt begreift das leidenschaftliche Plädoyer die Utopien von heute als die Realitäten von morgen. Wie würde ein bedingungsloses Grundeinkommen das Leben neu gestalten, die Stadt, die Gesellschaft, die ganze Welt? Rispolis interventionistische Kunstpraktiken zielen auf Veränderung des öffentlichen Raums und fußen auf dem Prinzip der gegenseitigen affektiven Ansteckung. Wenn die Worte anderer durch den eigenen Mund wandern, kann eine Form von nichtmonetärem Austausch geschehen. Eine Ökonomie wie noch nie!


ART FOR UBI (Manifesto) 14/

You can sign the ART FOR UBI MANIFESTO here > https://www.change.org/ARTforUBImanifesto

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ART FOR UBI MANIFESTO in English > https://instituteofradicalimagination.org/2021/01/16/art-for-ubi-manifesto-launching-campaign/

ART FOR UBI MANIFESTO in Italian > https://instituteofradicalimagination.org/2021/01/01/art-for-ubi-manifesto-campagna-online/

We strongly invite you support the EU Citizen’s Initiative to Start Unconditional Basic Incomes (UBI) throughout Europe https://eci.ec.europa.eu/014/public/#/screen/home

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ARTforUBIManifesto_6

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ART FOR UBI MANIFESTO in English > https://instituteofradicalimagination.org/2021/01/16/art-for-ubi-manifesto-launching-campaign/

ART FOR UBI MANIFESTO in Italian > https://instituteofradicalimagination.org/2021/01/01/art-for-ubi-manifesto-campagna-online/

We strongly invite you support the EU Citizen’s Initiative to Start Unconditional Basic Incomes (UBI) throughout Europe https://eci.ec.europa.eu/014/public/#/screen/home

#schoolofmutation #radicalcare #covid19 #socialpoetics #commons #tangibleutopias #dissenting #diyculture #decolonialalliance#radicalnetwork #culturalactivism #grassroots #communityorganisation #culturalactivism #grassroots#radicalimagination #socialpracticeart #socialagency #counternarratives #contestedspaces #artandsocialaction #communityengagement #curatorialpractice #care #curator #artcurator #art #ubi

ART FOR UBI (Manifesto) 2/

You can sign the ART FOR UBI MANIFESTO here > https://www.change.org/ARTforUBImanifesto

use the hashtag #ARTforUBImanifesto

ART FOR UBI MANIFESTO in English > https://instituteofradicalimagination.org/2021/01/16/art-for-ubi-manifesto-launching-campaign/

ART FOR UBI MANIFESTO in Italian > https://instituteofradicalimagination.org/2021/01/01/art-for-ubi-manifesto-campagna-online/

We strongly invite you support the EU Citizen’s Initiative to Start Unconditional Basic Incomes (UBI) throughout Europe https://eci.ec.europa.eu/014/public/#/screen/home

#schoolofmutation #radicalcare #covid19 #socialpoetics #commons #tangibleutopias #dissenting #diyculture #decolonialalliance#radicalnetwork #culturalactivism #grassroots #communityorganisation #culturalactivism #grassroots#radicalimagination #socialpracticeart #socialagency #counternarratives #contestedspaces #artandsocialaction #communityengagement #curatorialpractice #care #curator #artcurator #art #ubi

ART FOR UBI (Manifesto) 1/

You can sign the ART FOR UBI MANIFESTO here > https://www.change.org/ARTforUBImanifesto

use the hashtag #ARTforUBImanifesto

ART FOR UBI MANIFESTO in English > https://instituteofradicalimagination.org/2021/01/16/art-for-ubi-manifesto-launching-campaign/

ART FOR UBI MANIFESTO in Italian > https://instituteofradicalimagination.org/2021/01/01/art-for-ubi-manifesto-campagna-online/

We strongly invite you support the EU Citizen’s Initiative to Start Unconditional Basic Incomes (UBI) throughout Europe https://eci.ec.europa.eu/014/public/#/screen/home

#schoolofmutation #radicalcare #covid19 #socialpoetics #commons #tangibleutopias #dissenting #diyculture #decolonialalliance#radicalnetwork #culturalactivism #grassroots #communityorganisation #culturalactivism #grassroots#radicalimagination #socialpracticeart #socialagency #counternarratives #contestedspaces #artandsocialaction #communityengagement #curatorialpractice #care #curator #artcurator #art #ubi