Culture

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"Global Revolt: Cinematic Ammunition" Film Series
New York City, Oct. 1, 2013

Flaherty NYC: Global Revolt: Cinematic Ammunition
Programmers: Sherry Millner and Ernie Larsen
Opening Night - Tuesday, October 1, 7pm
Refuse & Refusal: Anti-Authoritarian & Avant-Gardist Interventions
Tuesday, October 1, 7:00pm @ Anthology Film Archives (please note new venue)

Ben Morea, Ayreen Anastas & Rene Gabri will be present for a post screening discussion.

"The truth of a society is in its detritus." -Ella Shohat & Robert Stam
"The world is our garbage, we shall not want." -Black Mask

Ausfegen
The previously unquenchable spirit of the modernist avant-garde seems to have evaporated at almost the same moment as anti-authoritarian, autonomist, and anarchist movements re-surfaced in the 21st century. These films, which explore the unmistakable correspondence between refuse and refusal, should tell us a thing or two about this wholly unpredicted emergence.

Looking Deep Into the Dark Matter
review of Dark Matter by Gregory Sholette: Mass Artistic Resistance to the Neoliberalization of Everyday Life
Molly Hankwitz

Finally, a history of collective precarity from a politicized artist. Author/writer, Gregory Sholette, in the final paragraph of Dark Matter: Art and Politics in the Age of Enterprise Culture, at last clarifies the frequently cited metaphor of “zombies” and enormous digital casts, which likes of Annalee Newitz? have been preoccupied with in terms of popular culture and most noticeably, the big budget extravaganza digital films of recent decades. He writes:

“We go on picking the rags, but every now and again, this other social [non] productivity appears to mobilize its own redundancy, seems to acknowledge that it is indeed just so much surplus---talent, labor, subjectivity, even sheer physical-genetic materiality and in so doing frees itself from even attempting to be usefully productive for capitalism?, though all the while identifying itself with a far larger ocean of “dark matter”, that ungainly surfeit of seemingly useless actors and activity that the market views as waste, or perhaps at best as a raw, interchangeable resource for biometric information and crowd sourcing. The archive has split open. We are its dead capital. It is the dawn of the dead.”

This blatant appeal to the use-value of our necrophilia, artistic waste, the products of our labor and time, runs throughout an historical text, alternately conscious of its own limitations and brilliantly pervasive in its political critique and arts research. Sholette devotes himself to describing the animation of a diverse, selection of contemporary artists collectives and collective projects, American, European, South American, and “other”, for whom relationships as cultural workers to the neo-liberal art world in recent decades of the 21st century, has been a central concern. Among this history are crisp critical frameworks for understanding the art and its positioning against what he calls “enterprise culture” Or the current era of marked precarity in which artists are force to live, which is also marked by “enforced creativity” imposed on all forms of labor.

The Quiet Realization of Ivan Illich's Ideas in the Contemporary Commons Movement
David Bollier

I come here today as an ambassador of the commons movement – a growing international movement of activists, thinkers, project leaders and academics who are attempting to build a new world from the ground up. It’s not just about politics and policy. It’s about social practices and the design of societal institutions that help us live as caring, intelligent human beings in spiritually satisfying ways.

Many Americans have not heard of the commons except in connection with the word “tragedy.” We’ve all heard the famous tragedy of the commons parable. It holds that any shared resource invariably gets over-exploited and ruined. Since the “tragedy meme” appeared in a famous 1968 essay by Garrett Hardin, it has been drummed into the minds of undergraduates in economics, sociology and political science classes. It serves as a secular catechism to propagandize the virtues of private property and so-called free markets.

Thanks to the tragedy smear, most people don’t realize that the commons is in fact a success story – that it is a durable artifact of human history, that it is a way to effectively manage shared resources, and that it lies at the heart of a growing political and cultural movement.

Open Letter to the Frieze Art Fair
OWS Arts & Labor

To artists, gallerists, workers, and fairgoers attending Frieze New York:

For the second year in a row, Frieze and its subcontractor Production Glue have hired low-wage, non-unionized workers to construct their fair, bringing in people from as far away as Wisconsin. This breaks with the industry standard: the major New York City art fairs including the Armory and the ADAA, as well as many other cultural and business expositions, employ unionized workers to construct and run their shows.

Frieze is a for-profit private event that takes over a municipal public park for two months to serve a global clientele of wealthy art collectors. The fair pays less than $1 per square foot to lease the land from the city. With a ticket price of $42 per day, Frieze is inaccessible to many working New Yorkers. However, despite the cheap rent and high admission prices to an event that generates millions of dollars in art sales, Frieze claims it cannot afford to pay decent wages to local workers.

Acker Avant-Garde Arts Awards Party
New York City, June 6, 2013

Date: Thursday, June 6, 2013
Time: 7pm – 10pm
Location: SoHo House 139 Ludlow LES, 2nd floor, NYC

The Acker Awards is a tribute given to members of the avant garde arts community who have made outstanding contributions in their discipline in defiance of convention, or else served their fellow writers and artists in outstanding ways.

Return to Documenta 13
Michel Chevalier

According to Michael Baldwin of Art & Language, Documenta 13 [the 13th edition of the international art fair took place in Kassel, Germany in the summer of 2012].was striking for “speaking very loudly of curatorial power,” with artists and artworks seemingly deployed on many occasions to illustrate the theses of Carolyn Christov-Bakargiev. This essay seeks to turn the tables, to some extent: Documenta 13 and its curation are themselves used to illustrate observations and notions put forth by Jean-Claude Moineau in his 2010 book, Retour du Futur. Documenta 13 as a stage for many a return: modernism(s), the author, exhibited bodies, ethics – so many attempts to “resist” the unwanted effects of globalization. The inventory of problematic approaches spans thirty works, but also takes note of some of the strong points of this latest Documenta.

“Perder” Important Show of Latin American Political Art
Perder la forma humana. Una imagen sísmica de los años ochenta en América Latina
(Losing the human form. A seismic image of the eighties in Latin America)
Museo Reina Sofía, Madrid
October 26, 2012 - March 11, 2013

Introduction by Alan Moore– This is a major exhibition of political art. It is probably the best I have ever seen. “Perder la Forma Humana” presents the situations and the creative responses to the epoch of dictatorships in Latin America in the 1980s. The presidency of plastic hero Ronald Reagan was a disaster for our neighbors to the south if they professed any opposition to the smooth workings of multinational capital. Activists, most of them young, were detained, tortured and killed by the tens of thousands during many long years of harsh rule by right-wing generals. The U.S. military helped to coordinate these repressions. (This kind of federal coordination was recently echoed in the nationwide shutdown, benign by comparison, of the encampments of the U.S. Occcupy movement.)

2013 New York CIty Anarchist Book Fair
Clemente Soto Velez Community Center, April 6-7, 2013

The 2013 New York CIty ANARCHIST BOOKFAIR will be held April 6 and 7 2013 at the CLEMENTE SOTO VELEZ COMMUNITY CENTER, 107 Suffolk Street in New York City's Lower East Side, from 10 AM to 6 PM both days.

Many workshops will be throughout venues in the nearby area.

For more information, please visit NYC Anarchist Book Fair.

From Dining in Refugee Camps to dOCUMENTA 13: The Art of Seeking Sahrawi Independence

There are few recurring global exhibitions of contemporary art more renown, prestigious and selective than dOCUMENTA, held every five years in Kassal Germany. Which is what makes it so very remarkable that one of the highlights of last year's dOCUMENTA 13 was the inclusion of a refugee encampment made by what are arguably among the least known people on the face of the earth--the Sahrawi of North Africa.

Organized by New York artist Robin Kahn, philosopher Peter Lamborn Wilson (aka Hakim Bey), and dOCUMENTA 13's Creative Director, Carolyn Christov-Bakargiev, and with photo documentation by Artforum critic Kirby Gookin and artist Edi Escobar, the installation was intended to bring attention to the Sahrawi's 38-year struggle for independence. Even more remarkable is that the cross-cultural collaboration came about as the result of a dream. Not a dream of success, as the art world is plethorically marked by, but by a literal dream that came to one of the organizers when asleep. As for whose dream and what it led to, I defer to Robin Kahn's exuberant account below.

2013 Autonomedia Calendar of Jubilee Saints
Radical Heroes for the New Millennium!
James Koehnline and the Autonomedia Collective

Autonomedia's Jubilee Saints Calendar for 2013! Our 21st annual wall calendar, with artwork by James Koehnline, and text by the Autonomedia Collective.

Hundreds of radical cultural and political heroes are celebrated here, along with the animating ideas that continue to guide this project — a reprieve from the 500-year-long sentence to life-at-hard-labor that the European colonization of the "New World" and the ensuing devastations of the rest of the world has represented. It is increasingly clear — at the dawn of this new millennium — that the Planetary Work Machine will not rule forever!

Celebrate with this calendar on which every day is a holiday!

32 pages, 12 x 16 inches, saddlestitched

isbn 978-1-57027-259-2 : price $9.95 : 32 pages

Pay for two, and we will send a third calendar for free!

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