Tag: Basic Income

ART FOR UBI (MANIFESTO) | launching campaign

ART for UBI Manifesto > ITALIANO

#ARTforUBImanifesto

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ART FOR UBI (Manifesto)

1/ Universal and Unconditional Basic Income is the best measure for the arts and cultural sector. Art workers claim a basic income, not for themselves, but for everyone.

2/ Do not call UBI any measures that do not equal a living wage: UBI has to be above the poverty threshold. To eliminate poverty, UBI must correspond to a region’s minimum wage.

3/ UBI frees up time, liberating us from the blackmail of precarious labor and from exploitative working conditions.

4/ UBI is given unconditionally and without caveats, regardless of social status, job performance, or ability. It goes against the meritocratic falsehoods that cover for class privilege.  

5/ UBI is not a social safety net, nor is it welfare unemployment reform. It is the minimal recognition of the invisible labor that is essential to the reproduction of life, largely unacknowledged but essential, as society’s growing need for care proves.

6/ UBI states that waged labor is no longer the sole means for wealth redistribution. Time and time again, this model proves unsustainable.Wage is just another name for exploitation of workers, who always earn less than they give. 

7/ Trans-feminist and decolonizing perspectives teach us to say NO to all the invisible and extractive modes of exploitation, especially within the precarious working conditions created by the art market.

8/ UBI affirms the right to intermittence, privacy and autonomy, the right to stay off-line and not to be available 24/7.

9/ UBI rejects the pyramid scheme of grants and of the nonprofit industrial complex, redistributing wealth equally and without unnecessary bureaucratic burdens. Bureaucracy is the vampire of art workers’ energies and time turning them into managers of themselves.

10/ By demanding UBI, art workers do not defend a guild or a category and depreciate the role that class and privilege play in current perceptions of art. UBI is universal because it is for everyone and makes creative agency available to everyone.

11/ Art’s health is directly connected to a healthy social fabric. To claim for UBI, being grounded in the ethics of mutual care, is art workers’ most powerful gesture of care towards society.

12/ Because UBI disrupts the logic of overproduction, it frees us from the current modes of capital production that are exploiting the planet. UBI is a cosmogenetic technique and a means to achieve climate justice.

13/ Where to find the money for the UBI? In and of itself UBI questions the actual tax systems in Europe and elsewhere. UBI empowers us to reimagine financial transactions, the extractivism of digital platforms, liquidity, and debt. No public service should be cut in order to finance UBI.

14/ UBI inspires many art collectives and communities to test various tools for more equal redistribution of resources and wealth. From self-managed mutual aid systems based on collettivising incomes, to solutions temporarily freeing cognitive workers from public and private constraints. We aim to join them.


SIGNATURES

Individuals

  • Emanuele Braga / Macao, Milan; Institute of Radical Imagination
  • Marco Bravalle / Sale Docks, Venice; Institute of Radical Imagination
  • Gabriella Riccio / L’Asilo, Naples ; Institute of Radical Imagination
  • Ilenia Caleo / Campo Innocente; Incommon – Università IUAV Venezia
  • Anna Rispoli / Artist
  • Maddalena Fragnito / Macao, Milan; Phd at Coventry University
  • Andrea Fumagalli / Effimera; University of Pavia
  • Nicola Capone / Philosopher; L’Asilo, Naples
  • Luigi Coppola / Artist
  • Giuseppe Micciarelli / L’Asilo, Naples, University of Salerno
  • Julio Linares / Economist and Anthropologist; JoinCircles.net
  • Dena Beard / The Lab, San Francisco
  • Manuel Borja-Villel / Museum Director, Madrid
  • Salvo Torre / Professor, member of POE Politics, Ontologies, Ecologies
  • Sara Buraya Boned / L’Internationale; Institute Of Radical Imagination
  • Kuba Szreder / Curator and theorist, Warsaw
  • Dmitry Vilensky / Chto Delat
  • Charles Esche / Director of Van Abbemuseum, Eindhoven
  • Franco Bifo Berardi / Philosopher
  • Gregory Sholette / Artist
  • Zeyno Pekunlu / Artist, Institute of Radical Imagination
  • Anna Daneri / Forum dell’arte contemporanea italiana
  • Massimo Mollona / Goldsmiths’ University of London, Institute of Radical Imagination
  • Jerszy Seymour / Artist and Designer; Sandberg Institute
  • Marco Assennato / Maître de conférences in filosofia, Ecole Nationale Supérieure d’Architecture, Paris-Malaquais
  • Roberto Ciccarelli / Philosopher and journalist
  • Sandro Mezzadra / Philosopher
  • Geert Lovink / Institute of Network Cultures, Amsterdam
  • Alisa Del Re / senior professor Ateneo Patavino
  • Andrea Gropplero / Film Director
  • Giuseppe Allegri / Activist
  • Elena Lasala Palomar / Institute of Radical Imagination
  • Nicolas Martino / Philosopher
  • Ilaria Bussoni / Editor and curator
  • Danilo Correale / Artist
  • Annalisa Sacchi / Incommon – Università IUAV Venezia
  • Giada Cipollone / Incommon – Università IUAV Venezia
  • Stefano Tomassini / Incommon – Università IUAV Venezia
  • Piersandra Di Matteo / Incommon – Università IUAV Venezia
  • Elena Blesa Cabéz / Researcher, Barcelona; Institute of Radical Imagination
  • Jesús Carrillo / Senior Lecturer at the Department of History and Theory of Art Universidad Autónoma de Madrid; Institute of Radical Imagination
  • Pablo García Bachiller / Arquitecto; Institute of Radical Imagination
  • Theo Prodromidis / Artist; Institute of Radical Imagination
  • Mabel Tapia / Art Researcher Madrid-Paris
  • Chiara Colasurdo / Labour Lawyer


Organizations

  • Institute of Radical Imagination
  • Il Campo Innocente
  • Macao
  • Sale Docks
  • Chto Delat
  • L’Asilo
  • Euronomade
  • Dirty Art Department Gerrit Rietveld Academie and Dirty Art Foundation
  • Effimera
  • OperaViva Magazine
  • Basic Income Network – Italia
  • Community and Research for Circles UBI
  • Forum d’arte contemporanea
  • Global Project
  • Dinamopress
  • Sherwood
  • AWI Art Workers Italy
  • Maestranze dello Spettacolo Veneto
  • Autonomedia New York City

ART FOR UBI (MANIFESTO) | campagna online

ART for UBI Manifesto > ENGLISH

#ARTforUBImanifesto

Se vuoi aggiungerti ai sottoscrittori di ART FOR UBI (Manifesto) puoi farlo su change.org
Ti invitiamo caldamente a sostenere l’Iniziativa dei cittadini europei per avviare redditi di base incondizionati (RBI) in tutta l’UE

ART FOR UBI (Manifesto)


1/ Il reddito di base universale ed incondizionato (UBI) è la migliore misura per il settore artistico e culturale. Al tempo stesso, i lavoratori e le lavoratrici dell’arte chiedono il reddito di base non solo per sé stess*, ma per tutt*.

2/ Tutte quelle misure che non raggiungono un salario di sussistenza, non sono definibili come UBI. Questo deve superare la soglia di povertà. Per eliminare la miseria, l’UBI deve corrispondere, almeno, al salario minimo di uno Stato o di una regione. 

3/ L’UBI libera tempo e ci libera dal ricatto del lavoro precario e dalle condizioni di sfruttamento sul lavoro.

4/ L’UBI non è sottoposto a condizioni ed è corrisposto indipendentemente dallo status sociale, dalla performance lavorativa e dalle capacità. Si oppone alla menzogna meritocratica che copre il privilegio di classe.

5/ L’UBI non è un ammortizzatore sociale o una riforma del regime di disoccupazione. È il riconoscimento minimo di quel lavoro invisibile, essenziale per la riproduzione delle vita, lavoro spesso non riconosciuto, ma necessario, come prova il crescente bisogno sociale di cura.

6/ L’UBI chiarisce che il lavoro salariato non è più il solo mezzo di redistribuzione della ricchezza. Anzi, esso è alla base di un modello insostenibile. Salario è un altro nome dello sfruttamento delle lavoratrici e dei lavoratori che ricevono meno di quanto danno.

7/ Le prospettive transfemministe e decoloniali ci insegnano a dire NO a tutte forme di sfruttamento invisibili ed estrattive, specialmente alle condizioni di precarietà tipiche del mercato e del lavoro artistico.

8/ L’UBI afferma il diritto all’intermittenza, alla privacy, all’autonomia, il diritto di rimanere offline e di non essere reperibili 24/7.

9/ Distribuendo ricchezza senza obblighi burocratici, l’UBI rifiuta la struttura piramidale dei finanziamenti e del complesso industriale del non-profit culturale. La burocrazia è il vampiro delle energie delle lavoratrici e dei lavoratori dell’arte. È ciò che le/li trasforma in imprenditori del sé stess*.

10/ Pretendendo l’UBI, le lavoratrici ed i lavoratori dell’arte non difendono una corporazione o una categoria. Al contrario, ess* intaccano il ruolo che classe e privilegio svolgono nella percezione dell’arte. L’UBI è universale Perché è per tutt* e permette a tutt* agibilità creativa

11/ La salute dell’arte è direttamente collegata ad un tessuto sociale in salute. Chiedere l’UBI e praticare un’etica della cura reciproca sono i più potenti gesti di cura nei confronti della società che lavoratrici e lavoratori dell’arte potrebbero fare.

12/ Interrompendo la logica della sovrapproduzione, l’UBI ci libera dai modi presenti della produzione capitalistica e dai loro effetti nocivi sul pianeta. L’UBI è una tecnica cosmogenetica ed un mezzo per ottenere giustizia climatica.

13/ Dove trovare i soldi per un reddito di base? L’UBI mette in discussione l’attuale sistema fiscale europeo e non solo. L’UBI è uno strumento che ci permette di ripensare le transazioni finanziarie, l’estrattivismo delle piattaforme digitali, la liquidità ed il debito. Nessun servizio pubblico deve essere tagliato per implementare l’UBI.

14 L’UBI ispira molti collettivi artistici e molte comunità a testare diversi strumenti per una redistribuzione più equa di risorse e ricchezza: a partire da sistemi autogestiti di mutuo soccorso basati sulla collettivizzazione dei guadagni, fino a soluzioni temporanee per liberare i lavoratori cognitivi dai vincoli pubblici e privati (e non solo). Vogliamo fare nostre tali sperimentazioni.

SOTTOSCRIZIONI

Persone

  • Emanuele Braga / Macao, Milan; Institute of Radical Imagination
  • Marco Bravalle / Sale Docks, Venice; Institute of Radical Imagination
  • Gabriella Riccio / L’Asilo, Naples ; Institute of Radical Imagination
  • Ilenia Caleo / Campo Innocente; Incommon – Università IUAV Venezia
  • Anna Rispoli / Artist
  • Maddalena Fragnito / Macao, Milan; Phd at Coventry University
  • Andrea Fumagalli / Effimera; University of Pavia
  • Nicola Capone / Philosopher; L’Asilo, Naples
  • Luigi Coppola / Artist
  • Giuseppe Micciarelli / L’Asilo, Naples, University of Salerno
  • Julio Linares / Economist and Anthropologist; JoinCircles.net
  • Dena Beard / The Lab, San Francisco
  • Manuel Borja-Villel / Museum Director, Madrid
  • Salvo Torre / Professor, member of POE Politics, Ontologies, Ecologies
  • Sara Buraya Boned / L’Internationale; Institute Of Radical Imagination
  • Kuba Szreder / Curator and theorist, Warsaw
  • Dmitry Vilensky / Chto Delat
  • Charles Esche / Director of Van Abbemuseum, Eindhoven
  • Franco Bifo Berardi / Philosopher
  • Gregory Sholette / Artist
  • Zeyno Pekunlu / Artist, Institute of Radical Imagination
  • Anna Daneri / Forum dell’arte contemporanea italiana
  • Massimo Mollona / Goldsmiths’ University of London, Institute of Radical Imagination
  • Jerszy Seymour / Artist and Designer; Sandberg Institute
  • Marco Assennato / Maître de conférences in filosofia, Ecole Nationale Supérieure d’Architecture, Paris-Malaquais
  • Roberto Ciccarelli / Philosopher and journalist
  • Sandro Mezzadra / Philosopher
  • Geert Lovink / Institute of Network Cultures, Amsterdam
  • Alisa Del Re / senior professor Ateneo Patavino
  • Andrea Gropplero / Film Director
  • Giuseppe Allegri / Activist
  • Elena Lasala Palomar / Institute of Radical Imagination
  • Nicolas Martino / Philosopher
  • Ilaria Bussoni / Editor and curator
  • Danilo Correale / Artist
  • Annalisa Sacchi / Incommon – Università IUAV Venezia
  • Giada Cipollone / Incommon – Università IUAV Venezia
  • Stefano Tomassini / Incommon – Università IUAV Venezia
  • Piersandra Di Matteo / Incommon – Università IUAV Venezia
  • Elena Blesa Cabéz / Researcher, Barcelona; Institute of Radical Imagination
  • Jesús Carrillo / Senior Lecturer at the Department of History and Theory of Art Universidad Autónoma de Madrid; Institute of Radical Imagination
  • Pablo García Bachiller / Arquitecto; Institute of Radical Imagination


Organizzazioni

  • Institute of Radical Imagination
  • Il Campo Innocente
  • Macao
  • Sale Docks
  • Chto Delat
  • L’Asilo
  • Euronomade
  • Dirty Art Department Gerrit Rietveld Academie and Dirty Art Foundation
  • Effimera
  • OperaViva Magazine
  • Basic Income Network – Italia
  • Community and Research for Circles UBI
  • Forum d’arte contemporanea
  • Global Project
  • Dinamopress
  • Sherwood
  • AWI Art Workers Italy
  • Maestranze dello Spettacolo Veneto
  • Autonomedia New York City

THE PARADOXES OF GIFT ECONOMY AND HOW BASIC INCOME COULD SAVE, CHANGE, ABOLISH ART MAKING | Dmitry Vilensky & Oxana Timofeeva

Image from @Reco Steemit.com


School of Mutation within the framework of the iteration We have a situation here. The online meeting is on Thursday July 16 at 19:00 CEST. Facilitated and composed by Dmitry Vilensky, with Oxana Timofeeva.
register here

Today provoked by pandemic situation we hear more and more often different proposals for establishing Universal Basic Income (UBI). The UBI is often presented as the only measure which could save human life in front of growing precarity and forthcoming competitions with AI and robots. 

As correctly and precisely mentioned by previous panel of IRI:

it is a necessary condition in order to rethink our extractivist ecological model, to correct many race and gender asymmetries and, last but not least, to change the art world’s present neoliberal structure. UBI must be seen as a tool to open up new subjective spaces, alternative to the dominating entrepreneurial individualism and focused instead on commons and care. 

At the moment looks like that some affluent societies could come closer to implement this measures not at universal/global level but at their national proximity – regulated by local governments and national agencies. 

If we look back, we could discover that something similar to BI was already existed – in the West it was called welfare system, in the socialist countries it was a system of all-embracing social support and exchange of basic work/services for basic wage covering basic housing, basic food and basic health care. 

I think that we should analyses what is basic? 

Within welfare state it was pretty clear that bureaucracy has an expert power to calculate how many calories one should consumer a day, how often one need to new underwear, how many sq. meters should be sufficient for one person, what kind of medical services should stay accessible and at which quality level. So, it did not differ much from the situation when one speaks about regulation of prison’ population or orphanages. 

In general we are demanding the return to some bio-political regulations which right now sounds like a golden age of humanity which was later kind of annihilated by the assault of neo-liberalism. 

But we definitely not returning – we reconsider this radical survival strategy in completely new political situation. And we should stay sensitive to this new challenges. 

To recognize them more precisely we suggest to reconsider the BI through the concept of the gift. Right now young generation do not remember that the topic of the gift economy was the most fashionable in artistic and intellectual discourse during the nineties. Jean Baudrillard (after Marcel Mauss and Georges Bataille and some other anthropologists) in his work differentiate between the symbolic realm and the realm of signs and signification. According to his ideas “signs can be exchanged like commodities; symbols, on the other hand, operate quite differently: they are exchanged, like gifts, sometimes violently as a form of potlatch”. And he warns us that contemporary society more and more often converting this “symbolic” element into commodified signs. This we could watch very clearly in the tendencies of art world. 

Anthropologist Marcel Mauss studied the notion of the gift, particularly the notion of the “hau” – the invisible energy emanating from social relations which keeps valuable objects in circulation – to imagine a socialist state or rather commons, based on non-commodified and generalized reciprocity permeating all social relations. 

According to Georges Bataille, there are two types of economies: the general and the restricted one. Restricted economies are human activities subordinated to the production, accumulation, and growth of individuals, households, states, etc. The general, or planetary economy is the one of the non-productive expenditure. In nature, it is presented by the sun which gives light and warmth to all living beings without ever receiving anything back. In case of humanity, the general economy becomes the gift economy. How does the gift economy relate to the contemporary condition of total capitalist alienation of labor, and especially artistic labor? What is the connection between labor as our essential activity, and the gift?

So we would like to suggest to look deeper what the idea of gift means nowadays and see if we could re-approach the BI – as a new form of unconditional gift system. And as we know that any gift is a manifestation of sovereign power it imposes a certain rules of exchange – putting someone into position of debt. Gifts are not innocent and to operate inside gift economy one need to acquire a special knowledge and type of behavior – then we could reclaim a gift – basic income not as a basic compensation to temporary save our life (and as a general recognitions of our humanness) but as a precondition for plenitude of living in commons. 

So we would suggest the basic questions in relation of the transformation of art system in connection with possibility of establish BI 

1) If artists receive BI (in its minimal or utopian version) as a kind of a “gift” should they consider their artistic manifestation as a gift to society and do not demand additional remuneration? How do we combine BI and new market regulations which keeps competition afloat? 

2) With implementation of BI the old dream which haunting art world might come true: everyone becomes an artist and do not need a special institutional recognition. Would BI diminish a professional approach to art and undermine the difference between professional and amateurish approach? 

3) Would artist with BI need art system at all or they manage to establish their own system of the distribution of artistic practice – making it more local, more social and convivial?   

4) The implementation of BI could be hardly imagined practically at global scale. Like industrial revolutions it could start from the most affluent countries and then (hopefully) spread around globe. How could we soften the growing inequalities between the artists with BI and those who do not have any support? What kind of international structures of redistribution we might need? 

5) If we consider BI not just as a gift, but more as a dole could it be particular “poisoned” for the artists which system put in the position of returning gift in a form of “welcomed” withdrawing from work and from any additional responsibility of the cultural institutions?

BIO

Oxana Timofeeva is a Professor of the Centre for Practical Philosophy “Stasis” at the European University at St. Petersburg, leading researcher at Tyumen State University, member of the artistic collective “Chto Delat?” (“What is to be done?”), deputy editor of the journal “Stasis”, and the author of books History of Animals (Maastricht: Jan van Eyck, 2012; Moscow, 2017; London: Bloomsbury, 2018), and Introduction to the Erotic Philosophy of Georges Bataille (Moscow: New Literary Observer, 2009). She is also author of numerous contributions to e-flux journal and other art magazines.

Recommended readings:

The Case Against a Basic Income by DANIEL ZAMORA

David Graeber on basic income 

Can a Universal Basic Income rid the world of bullshit jobs?