Tag: Marco Baravalle

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

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.

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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.

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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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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.

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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 Cities,  DISCE 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.

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

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….

Art for Radical Ecologies

ART FOR RADICAL ECOLOGIES (MANIFESTO) @ Venice Climate Camp 2022

Un progetto di Sale Docks & Institute of Radical Imagination per Venice Climate Camp 2022

English | Italiano

Programma

Workshop / Assemblea Plenaria

Art for Radical Ecologies (Manifesto)

9 Settembre, 2022, ore 14.00

Venice Climate Camp, Lido di Venezia

Organizzato da Sale Docks & Institute of Radical Imagination

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The Venice Climate Camp 2022 is the opportunity to bring together art and performing arts workers to initiate a discussion that will lead to the collective writing of a manifesto on the role of art in the struggle for climate justice and in the creation of new ecologies (which take into account the intersection of environmental and social facts). If the pandemic had already dramatically underlined the consequences of extractivist anthropization, the war in Ukraine (in addition to its immediate death toll) is a manifestation of what Andreas Malm has called ‘fossil fascism’, a mix of authoritarianism and fossil fuels that weakens the already insufficient measures to combat global warming.  The scarcity of Russian gas has brought coal back into vogue and, in Italy, the construction of new re-gasifiers is on the agenda. The decision to organize the workshop at the Venice Climate Camp (promoted by Rise Up For Climate Justice and Fridays For Future) reflects our belief in the importance of freeing art from the capture of institutional circuits. We want to experience, as participants in social movements, aesthetic-political concatenations that interpret creativity as a radical character of the social and not as a commodity. The participants also share the conviction that the fight for climate justice is, necessarily, a fight against and beyond extractive capitalism, even in its green version (actually an attempt to turn the crisis into new accumulation).

The workshop will be a moment of discussion based on the practices of the invited guests, who convoke some central themes: the use of art as a method of inquiry and visualization in the climate crisis; the production of activist art forms that look at the performativity of direct action; art as a ground for radical imagination in designing new ecologies that reshape the relationship between human and non-human; art as an archive of movement practices and so on.

During Camp days, in addition to the main meeting moment, there will be a screening of films by Oliver Ressler, a workshop by Paolo Cirio and collective performative practice by Andreco.

First participants: Sale Docks, Institute of Radical Imagination, Caracol Olol Jackson, Rise Up For Climate Justice, Andreco, Annaclara Basilicò, Paolo Cirio, Terike Haapoja, Rosa Jijon, Francesco Martone, Teresa Masini, Oliver Ressler, Federica Timeto 

Art for Radical Ecologies

ART FOR RADICAL ECOLOGIES (MANIFESTO) | Venice Climate Camp 2022

A project by Sale Docks & the Institute of Radical Imagination for Venice Climate Camp 2022

English | Italiano

Program

Workshop / Plenary Assembly

Art for Radical Ecologies (Manifesto)

September 9th, 2022, at 2 pm

Venice Climate Camp, Lido di Venezia

Organized by Sale Docks & Institute of Radical Imagination

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The Venice Climate Camp 2022 is the opportunity to bring together art and performing arts workers to initiate a discussion that will lead to the collective writing of a manifesto on the role of art in the struggle for climate justice and in the creation of new ecologies (which take into account the intersection of environmental and social facts). If the pandemic had already dramatically underlined the consequences of extractivist anthropization, the war in Ukraine (in addition to its immediate death toll) is a manifestation of what Andreas Malm has called ‘fossil fascism’, a mix of authoritarianism and fossil fuels that weakens the already insufficient measures to combat global warming.  The scarcity of Russian gas has brought coal back into vogue and, in Italy, the construction of new re-gasifiers is on the agenda. The decision to organize the workshop at the Venice Climate Camp (promoted by Rise Up For Climate Justice and Fridays For Future) reflects our belief in the importance of freeing art from the capture of institutional circuits. We want to experience, as participants in social movements, aesthetic-political concatenations that interpret creativity as a radical character of the social and not as a commodity. The participants also share the conviction that the fight for climate justice is, necessarily, a fight against and beyond extractive capitalism, even in its green version (actually an attempt to turn the crisis into new accumulation).

The workshop will be a moment of discussion based on the practices of the invited guests, who convoke some central themes: the use of art as a method of inquiry and visualization in the climate crisis; the production of activist art forms that look at the performativity of direct action; art as a ground for radical imagination in designing new ecologies that reshape the relationship between human and non-human; art as an archive of movement practices and so on.

During Camp days, in addition to the main meeting moment, there will be a screening of films by Oliver Ressler, a workshop by Paolo Cirio and collective performative practice by Andreco.

First participants: Sale Docks, Institute of Radical Imagination, Caracol Olol Jackson, Rise Up For Climate Justice, Andreco, Annaclara Basilicò, Paolo Cirio, Terike Haapoja, Rosa Jijon, Francesco Martone, Teresa Masini, Oliver Ressler, Federica Timeto 

No Land Ahoy! Drifting Conversations on Radical Art, The School of Mutation

NO LAND AHOY! DRIFTING CONVERSATIONS ON RADICAL ART | PODCAST Marco Baravalle & MTL+ Collective
Marco Baravalle in conversation with MTL* Collective Episode #4 of the podcast series No Land Ahoy! Drifting Conversations on Radical Art within the framework of The School of Mutation

Marco Baravalle talks to artists, curators and activists. From the phantom archive of activist art to the museo situado, from Afrofutirism to decolonisation of neoliberal museums, these constellations of radical art may help us trace possible routes through the drift of the present.

EPISODE #4 with MTL+ Collective

How to act in the face of a scenario in which the major US art institutions function as artwashers of a colonial, patriarchal and extractivist capitalism? MTL+ tells of concrete actions such as Decolonize this Place and Strike MOMA, of the need to escape institutional co-optation and the urgency of creating new infrastructures of solidarity. The museum is an object to be de-fetishised, not a temple of memory (whose memory?), just another battlefield.

Eposode #4 MTL+ Collective

Profile

Decolonize This Place (DTP) is an action-oriented, decolonial formation and a call to action. Facilitated by MTL+ Collective (Nitasha Dhillon, Amin Husain, Marz Saffore, Amy Weng), DTP resists and unsettles settler colonial structures in our cities as it builds movement infrastructure of care and solidarity on the path of collective freedom and liberation. Organizing, research, aesthetics, and action are rooted in interconnected struggles that are anti-colonial, anti-imperial, anti-patriarchal, and anti-capitalist. The university, museum, and city are sites of struggles and organizing. They are sites of refusal, sabotage, infrastructure, sanctuary, play, exit. Let them be sites of training in the practice of freedom. When we breathe we breathe together. 

No Land Ahoy! Drifting Conversations on Radical Art, The School of Mutation

NO LAND AHOY! DRIFTING CONVERSATIONS ON RADICAL ART | PODCAST Marco Baravalle & Manuel Borja Villel
Marco Baravalle in conversation with Manuel Borja Villel Episode #3 of the podcast series No Land Ahoy! Drifting Conversations on Radical Art within the framework of The School of Mutation

Marco Baravalle talks to artists, curators and activists. From the phantom archive of activist art to the museo situado, from Afrofutirism to decolonisation of neoliberal museums, these constellations of radical art may help us trace possible routes through the drift of the present.

EPISODE #3 with MANUEL BORJA VILLEL

Borja Villel addresses his critical practice as a museum director. How to transform from within the neoliberal structure and functions of an art institutions? How to work with concepts such as “Museo situado”? How to create alliances with the subalterns instead of the wealthy? How to break the cause-effect relationship between museums and gentrification? How to dialogue with examples of radical art from the Global South avoiding cultural extractivism? How to work on an epistemological revolution of collections?

Profile

Manuel Borja-Villel is Director of the Museo Nacional Centro de Arte Reina Sofía (MNCARS) in Madrid and is one of the institutional agents of Spanish culture. Borja-Villel has directed three of the major art institutions in Spain: Fundació Antoni Tàpies in Barcelona (1990–1998); Museu d’Art Contemporani de Barcelona (MACBA, 1998–2008); and Museo Reina Sofía (2008–present). He has curated solo exhibitions of some of the most important artists of the last century: Marcel Broodthaers, Lygia Clark, James Coleman, Óyvind Fahlström, Luis Gordillo, Hans Haacke, Lygia Pape, Antoni Muntadas, Michelangelo Pistoletto, Nancy Spero, Antoni Tàpies, Krzysztof Wodiczko, amongst others. His most recent book is titled Campos magnéticos: Escritos de arte y política (Arcadia, 2020).

No Land Ahoy! Drifting Conversations on Radical Art, The School of Mutation

NO LAND AHOY! DRIFTING CONVERSATIONS ON RADICAL ART | PODCAST Marco Baravalle & Coco Fusco
Marco Baravalle in conversation with Coco Fusco Episode #2 of the podcast serie No Land Ahoy! Drifting Conversations on Radical Art within the framework of The School of Mutation

Marco Baravalle talks to artists, curators and activists. From the phantom archive of activist art to the museo situado, from Afrofutirism to decolonisation of neoliberal museums, these constellations of radical art may help us trace possible routes through the drift of the present.

EPISODE #2 with COCO FUSCO

Coco Fusco discusses her encounter with Afrofuturism in the 1980s through the Black Audio Film Collective and how this encounter has influenced her performance work. In the second part, Fusco discusses the recent mobilisations for freedom of expression in Cuba, where artists are in the forefront.

Profile

Coco Fusco is an interdisciplinary artist and writer. She is a recipient of numerous awards, including a Guggenheim fellowship, an American Academy of Arts and Letters Award, Latinx Art Award, a Fulbright fellowship and a Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008 and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, the Centre Pompidou, the Imperial War Museum, and the Museum of Contemporary Art of Barcelona. She is the author of Dangerous Moves: Performance and Politics in Cuba (2015). She is represented by Alexander Gray Associates in New York. She is a Professor of Art at Cooper Union. Fusco is currently preparing new works for the next Sharjah Biennial and a solo retrospective that will open in 2023.

No Land Ahoy! Drifting Conversations on Radical Art, The School of Mutation

NO LAND AHOY! DRIFTING CONVERSATIONS ON RADICAL ART | PODCAST Marco Baravalle & Gregory Sholette
Marco Baravalle in conversation with Gregory Sholette Episode #1 of the podcast serie No Land Ahoy! Drifting Conversations on Radical Art within the framework of The School of Mutation

Marco Baravalle talks to artists, curators and activists. From the phantom archive of activist art to the museo situado, from Afrofutirism to decolonisation of neoliberal museums, these constellations of radical art may help us trace possible routes through the drift of the present.

EPISODE #1 with GREGORY SHOLETTE

The conversation builds on Sholette’s forthcoming book The Art Of Activism, The Activism of Art (Lund Humphries) in which the author attempts an account of what he calls the phantom archive of activist art, namely a series of counter-histories of radical art from the 1960s to the present. Situationists in France and Argentinean pioneers of activist art are discussed, as well as the challenges posed to art and politics by the current condition that Sholette  names unreality. 

Profile

Dr. Gregory Sholette is a New York-based artist, writer, activist and curator Imaginary Archive: a peripatetic collection of documents speculating on a past whose future never arrived. His art and research theorize and document issues of collective cultural labor, activist art, and decolonial historical representation after 1968. Sholette is also co-founder of the collectives, Political Art Documentation/Distribution (1980-1988); REPOhistory (1989-2000); and Gulf Labor Coalition (2010 ongoing), as well as the author of Delirium and Resistance: Activist Art and the Crisis of Capitalism (2017); Dark Matter: Art and Politics in the Age of Enterprise Culture (2011); Art As Social Action (with C. Bass: 2018), and the forthcoming book, The Art of Activism and the Activism of Art from Lund Humphries (2021). Along with his colleague Chloë Bass, Sholette co-directs Social Practice CUNY (SPCUNY), a new, Andrew W. Mellon Foundation-funded art and social justice initiative at the Graduate Center, City University of New York.

Art for UBI, On the Precipice of Time - The Zapatista Forum

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.

Art for UBI Performance, On the Precipice of Time - The Zapatista Forum

UNA RENTA, MUCHOS MUNDOS | One income, many worlds | Performance

image courtesy of Maddalena Fragnito

Location / Lugar: Museo Reina Sofia, Jardin Edificio Sabatini Date / Fecha: September 17, 18:00 Language / Idioma: Español Access / Entradas: Free until full capacity, free tickets available from Reina Sofia Museum website (here) from September 15

the performance introduces the Art for UBI #3 | assembly at 19:00

Based on an idea by / Basado en una idea de Anna Rispoli, Einkommen. Die Bedingugslose Rede, Wiener Festwochen 2021

Concept Concepto Marco Baravalle, Elena Blesa, Emanuele Braga, Sara Buraya Boned, Gabriella Riccio, Anna Rispoli

Text / Texto Marco Baravalle, Elena Blesa, Emanuele Braga, Gabriella Riccio, Anna Rispoli and 14 citizens of Madrid and Barcelona

Direction / Dirección: Gabriella Riccio

Research & Interviews / Investigación y Entrevistas: Gabriella Riccio with the collaboration of Ana Campillos, Maite Gandulfo, Maria Mallol, Celina Poloni

With the support of / Apoyan Hablarenarte / Planta Alta

With the participation of / Con la participación de: Miguel Ángel Álvarez Tornero, Andrei Alexandru Mazga, Sara Babiker Moreno, Elena Blesa Cabéz, Amalia Caballero, José Antonio Campillos Martín-Consuegra, Constanza Cisneros, Ana Gutiérrez Borreguero, Sebastián Laina, Mar Núñez, Lucía Núñez Ortega, Gabriella Riccio, Juan Manuel Rodriguez, Hella Spinelli

A production by / Una producción de: Institute of Radical Imagination, FfAI Foundation for the Arts Activities / Museo Reina Sofia

graphic courtesy of Maddalena Fragnito
graphic courtesy of Maddalena Fragnito

Using the ART FOR UBI [Art for Universal Basic Income] Manifesto as its starting point, 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 Sabatini Garden of the Museum, with “One income many worlds” 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.

In the performance Una Renta, Muchos Mundos (One Income, Many worlds) a diversified group of people will perform a fictional assembly in the form of a public coral speech, where the hypothetical impact on their lives of a universal, basic and unconditional income is analyzed on the background of the current pandemic crisis. Is UBI a “simple” financial measure, or is it an essential tool for a radical alternative to the neoliberal reality we are experiencing? What about earning money unrelated to jobs and working hours? What about the possibility to say no to the blackmail of precarity? What about putting and end to race and gender asymmetries so common in today’s labor market? What about detoxing the planet from ecologically dangerous jobs? What about care and mutual aid in front of the endless invitation to be competitive individuals? These are some or the questions inspiring the public dialogue.The performance will be followed by the panel Art For Ubi #3 at the Museum Reina Sofia. 

On this occasion, an IRI team has worked to adapt Rispoli’s proposal and carry out a dramaturgy that takes up these lines from dialogue with a group of people who live and work in Spain, and who have participated in a series of interviews that have given rise to the dramaturgy of this performance. This research phase is part of the DESVÍO Open Program, a tool for dialogue and collective work promoted by hablarenarte / Planta Alta that aims to actuate and affect our immediate context.

Con el Manifiesto ART FOR UBI [Arte por la Renta Básica Universal] como punto de partida, el IRI viene proponiendo discusiones sobre el papel que el arte y el mundo de la producción cultural deben tener en la lucha por una redistribución financiera basada en el mutualismo, los métodos de autogestión de recursos, el acceso a los medios de producción y otras prácticas solidarias. Esta actividad comienza en el Jardín de Sabatini del Museo, con “Una renta muchos mundos” mesa redonda performativa basada en la propuesta de la artista Anna Rispoli, que trabaja regularmente temas como la remuneración, los ingresos y la RBU (renta básica universal), mezclando performance, investigación social y realizando experimentos reales sobre cómo compartir bienes y recursos financieros.

En la performance Una Renta, Muchos Mundos (One Income, Many worlds) un grupo diversificado de personas interpretará una asamblea ficticia en forma de discurso público coral donde se analiza el hipotético impacto en sus vidas de una renta universal, básica e incondicional en el contexto de la actual crisis pandémica. ¿Es la RBU una medida financiera “simple” o una herramienta fundamental para una alternativa radical a la realidad neoliberal que vivimos? ¿Qué pasa con ganar dinero no relacionado con el trabajo y las horas de trabajo? ¿Y la posibilidad de decir no al chantaje de la precariedad? ¿Qué hay de poner fin a las asimetrías de raza y género tan comunes en el mercado laboral actual? ¿Qué hay de desintoxicar el planeta de trabajos ecológicamente peligrosos? ¿Qué pasa con el cuidado y la ayuda mutua frente a la interminable invitación a ser individuos competitivos? Estas son algunas de las preguntas que inspiran el diálogo público La actuación será seguida por el panel Art For Ubi # 3 en el Museo Reina Sofía.

En esta ocasión, un equipo del IRI ha trabajado para adaptar la propuesta de Rispoli y realizar una dramaturgia que retome estas líneas a partir del diálogo con un grupo de personas que viven y trabajan en España, y que han participado en una serie de entrevistas que han dado lugar a la dramaturgia de esta performance. Esta fase de investigación, se enmarca dentro del Programa Abierto de DESVÍO una herramienta de diálogo y trabajo colectivo impulsada por hablarenarte / Planta Alta que se propone accionar y afectar nuestro contexto inmediato.

UNA RENTA MUCHOS MUNDOS, Sabatini Gardens, Museo Reina Sofía, Madrid, September 21, 2021

ARTISTIC TEAM

Anna Rispoli is an Italian artist and director, who lives and works in Brussels. Anna created Income. The Unconditional speech commissioned by Wiener Festwochen Festival 2021. She was a member of the artists collective ZimmerFrei, who participated in international festivals and exhibitions such as the 50th Biennale di Venezia, Manifesta 07, Biennale Valencia, Thessaloniki Documentary Festival, Visions du Réel Nyon, Festival Internationale del Film di Roma, Torino Film Festival, or Film Fest Gent. Anna Rispoli works across the boundaries of the artistic creation with civil space, making a performative use of the urban fabric in order to explore the relationship between humans, cities, and identities. Her works include Les Marches de la Bourse in which she reunited political activists of the last fifty years in a meta-demonstration claiming the right to demonstrate, her series of light shows Vorrei tanto tornare a casa about an apartment block’s residents’ attitude towards cohabitation, and the Waterfront Cycle with pieces produced in Mühlheim an der Ruhr, Kortrijk and Abu Dhabi. In the 2020 project A certain value, Rispoli developed a participative performance out of her research exploring mutualization practices developed by five European communities. Anna Rispoli is part of Common Wallet, a union of Brussels-based artists with a practice of economic solidarity.

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Gabriella Riccio is artist-choreographer, curator, activist and researcher based in Madrid and Naples. She is artis in residence at Planta Alta / Hablarenarte, Madrid in the framework of Desvío 2021 and in this framework she is researcher and director of the performance “Una renta, muchos mundos”. With a professional career as author-choreographer with over 14 creations – gabriellariccio.art – and a background in political studies, cultural management and human rights she focuses on artistic production in its political dimension at the intersection with activism. Active in the movement for the commons and the Italian Movement of Self-Governed Cultural Spaces, as resident member of L’Asilo in Naples, she is speaker in numerous international conferences on cultural commons and participatory democracy and published essays – gabriellariccio.academia.edu – on the relationship between dance and philosophy, as well as on the intersection of ethics, aesthetics and politics.

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Emanuele Braga co-founder of Macao center in MIlan. He is 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.

Reharsal at La Corrala, Madrid September 2021

Marco Baravalle is a member of S.a.L.E. Docks in Venice 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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Elena Blesa Cábez is a researcher, artist and cultural mediator based in Barcelona, Spain. Graduated in Fine Arts and master on Comparative Studies in Literature, Art and Thought, both at Barcelona. Currently, she is completing a masters on Contemporary Art History at Universidad Complutense, Madrid, hosted by Museo Reina Sofía. Her professional career is situated at a point between pedagogy and artistic production. Her research, mainly conducted from collective methodologies and dialectical practice, focuses on strategies that are being adopted from contemporary art to rethink the concept of citizenship in the Mediterranean current context. Since 2018, she’s an artist in residence at FASE, Space for the creation and thought (L’Hospitalet de Llobregat/Barcelona) and part of Espècies invasores collective.

Sara Buraya Boned is part of Museo en Red a Department of Public Activities of the Museo Reina Sofía where she was Coordinator of Cultural Programmes (2013-2015) and Coordinator of International Programs (2016-2019)as project manager for Our Many Europes. Europe’s Critical 90s and the Constituent Museum and The Uses of Art. The Legacy of 1848 and 1989 of European confederation of museums L’Internationale, and the programme Midstream. New Ways of Audience Development in Contemporary Art with the eipcp network. Within Museo en Red she works with platforms and agents of different scales to establishing ties with other communities or other institutional constructions, to produce a network of relationships aiming to generate critical thinking, actions and new forms of institutionality in the field of art, culture and politics. Her research and institutional work is crossed by the proposals of feminisms, other institutionalism, urban commons, archive and memory of social movements and politics of care.  She is currently member of the Editorial Board of L’Internationale online, and she is part of the collective projects Somateca, Archivos comunes and Calipsofacto.

Art for UBI (Manifesto)
Art for UBI

ART FOR UBI (Manifesto) #2 | Open online Assembly
Online Assembly ART for UBI (Manifesto) N°2 on Thursday, December 17th at 18:30 CET. With Ilenia Caleo, Dena Beard, Julio Linares, Anna Rispoli, Emanuele Braga, Marco Baravalle. The School of Mutation within the framework of the iteration Art for UBI.  Join us on Zoom https://us02web.zoom.us/j/87252121414 Meeting ID: 872 5212 1414

We continue our collective debate towards the drafting of the ARTS FOR UBI Manifesto. In this session we will address the mobilizations of art workers in Italy during the pandemic. We will analyze the experimental basic income for artists implemented by the city of San Francisco. We will talk about basic incomes models on blockchain and about art as a possible field of experimentation of alternative economic models. 

PARTICIPANTS TO THE ASSEMBLY

Ilenia Caleo: 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. (https://ilcampoinnocente.blogspot.com/)

Dena Beard: Executive Director of The Lab in San Francisco. She received her M.A. in Art History, Theory, and Criticism from the School of the Art Institute of Chicago and was previously Assistant Curator at the Berkeley Art Museum and Pacific Film Archive.

Julio Linares: researcher at Circles, a blockchain based basic income made to promote local economies. https://joincircles.net/

Anna Rispoli: (Common Wallet) Common Wallet is a community based practice in Brussels created by artists. They are socializing their personal income basing the access to liquidity on mutual aid principles.

Emanuele Braga (Macao – ITA) Emanuele is an activist and artist, member of Macao, center for art and research in Milano (IT). His intervention will describe the self organized Basic Income redistribution within the community of Macao in the last 5 years. http://www.macaomilano.org/IMG/pdf/3_-_commoncoin_basic_income.pdf?1498/0c7e90052d75f199cb712e014f1f8100f3113c3e

Marco Baravallle (S.a.L.E. Docks – ITA) http://www.saledocks.org/ Marco is a member of S.a.L.E. Doks, a self-managed art space in Venice. His intervention will focus on the importance of UBI and dis-identification in the organization of art and culture living labor.

Giuseppe Micciarelli (L’Asilo – ITA) jurist and political philosopher. PhD in Public Law, Theory of National and European Institutions and Legal Philosophy at the University of Salerno, Italy. He is member of Laboratorio filosofico-giuridico e filosofico-politico ‘Hans Kelsen and editor of Soft Power, Euro-American Journal of Historical and Theoretical Studies of Politics. L’Asilo elaborated on UBI within the framework of The commons as ecosystems for culture on EU scale.

Gabriella Riccio (L’Asilo – ITA) is an artist, activist and researcher, member of L’Asilo, art & culture common in Naples IT. L’Asilo elaborated on UBI within the framework of The commons as ecosystems for culture on EU scale.

Illustration by Kaya, On the Biennale's ruins, 2020.
Articles, IRI Publications, Space and Architecture of the Commons, Work and Labour Commoning

ON THE BIENNALE’S RUINS? INHABITING THE VOID, COVERING THE DISTANCE by Marco Baravalle

Illustration by Kaya, On the Biennale’s ruins, 2020.

On Biennale’s Ruins? by Marco BaravalleDownload

Too much love and friendship connect me to many people working for and around Venice Biennale. Too much admiration connects me to many that thanks to La Biennale made Venice a place to come back to instead of a “once-in-a-lifetime” tourist destination. Not light-heartedly these pages will go down as an exercise of speculation and critique. I am  participating in the uncertainty of those people risking to lose their jobs, watching their business fail, not getting their contracts renewed, being unable to access the already miserable existing welfare measures. Considering the earnings in monetary terms: room attendants, janitors, technicians, workers, freelancers, researchers, teachers, journalists, tourist-guides, artists, architects, curators, performers, etc. will –  more or less – lose something due to a possible (yet hopefully unlikely) cancellation or postponed events programmes linked to the various departments of La Biennale.

Continue reading “ON THE BIENNALE’S RUINS? INHABITING THE VOID, COVERING THE DISTANCE by Marco Baravalle” →
News

INTERNATIONALISM AFTER THE END OF GLOBALISATION

Museum on the Vistula, Warsaw, Art Against War and Fascism in the 20th and 21st Centuries – 24 October (Thursday); Internationalism After the End of Globalization – 25–26 October (Friday–Saturday), full program below

The Museum of Modern Art in Warsaw invites the public to the summit “Internationalism after the end of globalisation”. It will play the dual role of a conference and a workshop session.

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Areas of Intervention, IRI Meetings, Radical Pedagogy

IRI MEETING #3 ATHENS | SOLIDARITY SCHOOLS

With the collaboration of the Solidarity School Mesopotamia and the Open School Piraeus, the Institute of Radical Imagination created a space to reflect on practices of radical pedagogy and set up together with solidarity schools for social activation and political prefiguration of education in the commons.

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Areas of Intervention, IRI Meetings, Legalization of the Commons

IRI MEETING #2 MADRID | URBAN COMMONS

The second gathering of the Institute of Radical Imagination takes place from 28th of May to 2nd of June 2018 at the Ingobernable, Madrid.

The five-days event in Madrid will consist in two parallel sets of events: a MASTER in Urban Commons, organized by La Ingobernable in collaboration with IRI and involving various Spanish urban commons and social centres and a three-day workshop about the Institute of Radical Imagination’s forms of governance, sustainability, future projects and potential collaborations with social centres and urban commons across Europe’s south, the Mediterranean and the global South.

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Articles, IRI Meetings

NOTES ON MAPPING THE INSTITUTE OF RADICAL IMAGINATION by Emanuele Braga and Marco Baravalle

Relationship between the visible and the invisible

To map or to create a diagram means to visualize a certain chose contents, be it the physical geography of a portion of space or the relational network of people and organizations working to define an Institute for Radial Imagination. Of course, by creating maps, we are only partially describing already existing territories that will define the space covered by the Institute activity.

During the first phase of this attempt we immediately encounter a first problem of knots that can not be mapped, of relations that can not be made public because of safety reasons. This happens in Turkey of course, but it could happen elsewhere, especially if IRI will focus on the space of the Mediterranean and the Middle East. So first of all we decided to allow a geography of opacity, but the presence of invisible territories must not lead to a disengagement on these very portions of space. How do we visualize the urgencies, the emergencies, but also the richness of answers and the agency that these invisible territories embody? How do we, as an Institute, culturally and politically deal with it without paternalism and without the arrogance of representing them and speaking for them?

Translation and Geography

An issue, linked to the previous point, that emerged in the conversation with alessandro Petti, in that of translation of the theoretical vocabulary of the Institute. Alessandro noted that the vocabulary of the commons could be shared even in the Arab context, even if, historically, it has more to do with Islam. Alessandro also pointed out that it would be important to really engage with the space of the Mediterranean also by promoting activities in those contexts that apparently look “more difficult”.

Representative logic

Another issue with design the rational map of the Institute was the difficulty of appear in the diagram as a spokesperson of a certain activists group, where the issue of representation is especially felt. Again, the dialectic between visibility and invisibility comes back and it raises questions about the individual and the collective. Questions that are probably relevant for our Insitute too. How an aspiring Institution for Radical Multitudinarian Imagination represents itself?

Finding the right routes

The single knots of the Institute already show a very complex geography, a variety of fields of intervention that (from activism, to art, to academia) compose a rich map. This may sound obvious but the map Showa that we deal with individual or collective subjects characterized by full agendas and scarcity of time, sometimes facing a lack of resources, sometimes dealing with repressive political conditions and/or with the global economy attention. A crucial challenge for the future of IRI will be to serious consider these starting conditions. We need to find those unexplored routes on the map that will boost meaningful cooperation between the different knots and not only a reciprocally instrumental relation on episodic bases.

Towards a queer Institute?

We must pay attention to gender balance, the risk of creating a male Institute is always present. And gender balance is a good starting point, a deeper reflection should be developed on the “becoming minor” of the institute. Do we instead want a queer institution? What does it mean? How do we achieve this goal?

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Areas of Intervention, IRI Meetings, Legalization of the Commons

IRI MEETING #1 NAPLES | RADICAL IMAGINATION

L’Asilo November 29th / Scugnizzo Liberato November 30th > Fb

PROGRAM

November 29th at L’Asilo

10:00 – 14:30 – Organisational meeting of the IRI’s steering committee:

  1. The Institute of Radical Imagination Introduced by Mao Mollona.
  2. New forms of collaboration. The museum of the commons with Manuel Borja Villel.
  3. Relations, aesthetics and politics Introduced by Marco Baravalle.
  4. Translation. Collaborative platforms, common language and methodology of working in commons introduced by Raúl Sánchez Cedillo.
  5. Legalising the Commons and new Municipalism introduced by Giuseppe Micciarelli.
  6. Mapping the Institute of Radical Imagination introduced by Emanuele Braga and Marco Baravalle.
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