Tag: School of Mutation

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.

ART FOR UBI (Manifesto) #1 | Open online Assembly


School of Mutation within the framework of the iteration Art for UBI. The online meeting is on Friday July 10th at 18:00 CEST. register here [registration open until Thursday July 9th at 12:00 CEST]

While the art market confirms his status as a safe-haven assets provider for the financial elite, the current pandemic has highlighted the fragility and precarity of art workers around the world, a condition common to a growing portion of humanity. In this situation a UBI (Universal Basic Income) would then represent a solution and indeed an urgent measure to implement. But UBI is not “only” a response to poverty, 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. 

If artists are already creating new collective economy models and alter-institutions, these small scale experiments will be much more valuable when connected with those growing social movements around the world fighting for a Universal Basic Income.

PARTICIPANTS TO THE ASSEMBLY

Wouter Hillart STATE OF THE ARTS (BE): http://state-of-the-arts.net/ State of the Arts (SOTA) is an open platform to reimagine the conditions that shape the art world today, working on art labor and organization will report their recent discussion based on UBI. 

Andrea Fumagalli (Commonfare and BIN – ITA). Andrea is a professor and UBI activist. His intervention will focus on the differences between some of the existing European income tools and the UNIVERSAL BASIC INCOME. Also he will focus on the potential of bottom up welfare organisation.

Anna Cerdà i Callís (Murga Cooperative – Barcelona).  Anna is part of a cooperative that launched a manifesto/petition stating the importance of UBI for everybody, art and cultural workers included. Gent que treballa en cultura, per una renda bàsica universal i incondicional

Salvo Torre (POE, Politics, Ontology, Ecology – ITA) Salvo is a researcher in political ecology. His speech will address the ecological implications of UBI.

Marina Donatone (Campo Innocente – ITA) Campo Innocente https://ilcampoinnocente.blogspot.com is an Italian network of performing artists and cultural workers. They recently spoke against corporatism and the drive towards an utter fragmentation into hyper specific professional figures. Instead they see UBI as the unifying goal for all the art and culture workers,

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.

Anna Rispoli and Christophe Meierhans (Common Wallet- BE) 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

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.

THE ART CARE AND CARE ABOUT ART | Dmitry Vilensky & Janna Graham

Photo Catastrophes, performance at MUAC by Chto Delat


School of Mutation within the framework of the iteration We have a situation here. The online meeting is on Thursday July 9th at 19:00 CEST. Facilitated and composed by Dmitry Vilensky, with Janna Graham.
register here [registration open until Wednesday July 8th at 12:00 CEST]

The questions for the assembly:

  1. The practices of care do not need a critical apparatus. Aiming for good and wellbeing – they themselves become an unconditional good. Can we care critically, or can we criticize with care?
  2. How can we formulate the good of art and how will it differ from the immediate humanitarian benefit of caring for life in general – the reproductive labor?
  3. How to build relationships of equality in a situation of care?
  4. Your favorite art projects, which is based on the practices of care?
  5. Many art institutions in their recent statements speak about their priority of caring for artists in their programs. What manifestations of institutional care do we need to continue our work in art?
  6. Practices of caring can be considered as part of the practices of the participatory and community based art with their old dilemma – to do “for” or to do “with/together.” Is it possible to combine these positions?
Continue reading “THE ART CARE AND CARE ABOUT ART | Dmitry Vilensky & Janna Graham”

THE TRANSFORMATION OF MONUMENTALITY THE RISE AND FALLS AND THE DANCE OF MONUMENTS | Dmitry Vilensky & Alexandra Pirici

Photo by Drew Angerer/Getty Images – source online new CNN Channel 3000


We open the first appointment of the School of Mutation with the iteration We have a situation here. The online meeting on Thursday July 2nd at 19:00 CET is facilitated and composed by Dmitry Vilensky with choreographer Alexandra Pirici.
register here [registration open until Wednesday July 1st at 12:00 CEST]

Today all of sudden we happen to live in the moment when the burden of historical injustice become unbearable. These situations usually pop up at the moment of revolution or popular uprising and it demonstrates how the system of power is constructed and still rooted in the old system of oppression. The culture and art always have always been pleading a leading role in forming a historical block and , establishing a certain image of power which could inspire, scare and glorify certain dominant narratives. 

Now from Ukraine to Bristol, from US to Latin America the dark history of capital accumulation (real and symbolic) is being revisited – and we remember well that there are no any documents of democratic the progress which are not also documents of violence. The monuments start to fall again and empty places in the cities are filled with temporary manifestation of the popular uprising. This destruction of the monuments could be considered as collective healing, the a gesture of outrage and emptying the of space for new celebrations. 

Should these temporary memorials be preserved for the future under the supervision of the old power which did not disappear? Or should they be replaced with by more solid memorials celebrating the current struggles and creating a counter-narrative re-codifying the dirty memories from the past?

Do the current popular movements need any forms of monumentality? Or is their power is manifesting through the series of tactical and often spectacular acts of destruction, occupation, temporary altars, wheat pasting etc.?

Monumentality as aesthetic category is traditionally determined as a quality of the sublime. Its content is socially relevant and expressed as a large sculptural form imbued with heroic and epic themes that affirms positive ideal” (The Great Soviet Encyclopedia)

To paraphrase this statement one could say that nothing could be more sublime as people struggle for liberation and what could we/ or should we reclaim as a new forms of monumentality?

Ruth Noack in her recent FB post has shared rather popular position: “The sculptures should remain as a mark of the violence society once was happy to condone, but, of course, they cannot remain without the strongest gestures of resistance, protest, dissent. I would opt for adding counter-memorials and make them be powerful!”

Do we share this position? Should artists be involved into this practice, as long as they are part of the movement? 

The artists still have access to funding and commissions for the new public project, like the recent open call to monument commemorating victims of slavery in Paris. Or like widely demanded call for new historical public commissions compared to New Deal time.

For example: in the current situation – the French ministry of culture does not wait till people occupy the space in front of Louvre and make their own monument – instead they say that “the work of art must be harmoniously integrated into the garden and take into account site constraints.” – this approach demonstrates of certain forms of normalization of the rituals of commemoration and monumentality.

How could artists counter this approach, or produce art pieces inside this commissions which generate a popular support? Do we need artists at all at the time when occupations of public space often function as most powerful visual manifestation of our time – total installation with on-going performances, altars to the victims of the struggles, educational circles and political assemblies? 

Some reference materials to the works of Alexandra Pirici

These articles on Co-natural mentioning the references to US monuments that were used in the work in more subtle ways

PROFILES

Alexandra Pirici is a Romanian artist with a background in dance and choreography who works undisciplined, across different mediums. Her works have been exhibited within the decennial art exhibition Skulptur Projekte Munster 2017, the Venice Biennale – Romanian Pavilion at the 55th edition, Tate Modern London, New Museum – New York, Art Basel Messeplatz, The 9th Berlin Biennale, Manifesta 10, Centre Pompidou – Paris, Museum Ludwig Cologne, the Van Abbemuseum Eindhoven, Russian Museum St. Petersburg, Neuer Berliner Kunstverein, HAU Theatre Berlin, Museum of Modern Art Warsaw, Chicago Architecture Biennale, among many others. Alexandra Pirici works in museum contexts, theatrical frameworks and the public space. She choreographs ongoing actions, performative monuments and performative environments that fuse dance, sculpture, spoken word and music. Her works deal with monumentality or the history of specific places and institutions in order to playfully tackle and transform existing hierarchies. They also reflect on the history and function of gestures in art and popular culture or on questions about the body, its presence, absence or image and the politics of capture. Her performative artworks are part of private and public collections as live actions.

Dmitry Vilensky is an artist, educator and cultural environmentalist with no art degrees. He elicits situations and relationships. No one knows what he is up to right now: perhaps he is editing a new issue of Chto Delat’s newspaper, or maybe administering the Chto Delat Mutual Aid Fund, or editing a film, or talking with the participants of the School of Engaged Art, or making a set for a new play, or sitting in the assembly at Rosa’s House of Culture editing presentation for another conference. Most likely, he is doing all this and dozens of other activities at the same time, surrounded by various comradely compositions of bodies and minds in his hometown of Saint Petersburg, at Zoom and in many other places around the world. Born in Leningrad in 1964. He lives in Saint Petersburg.