EN LT
_NEWS___________________________
DAMTP MEETING ON SEPTEMBER 21-22, 2012 IN ALYTUS [updated] Print
Written by Chus Martínez   

 

On September 21-22, 2012 in Alytus (Lithuania) DAMTP self appointed curator Chus Martínez calls for meeting of the non-productive psychic workers and data miners, unproductive dead workers, life reproductive workers and cleaners (industrialized and non-paid ones) to discuss strategies to strike against bourgeois culture and to celebrate it‘s agonies due to vanishing access to production of whitewashing, light and stylistics.

1. colonization-decolonizaton-recolonizaton of mind as raised by "postcolonial" African writers and getting very actual for the rest of the world at this moment

2. psychic colonialism

3. structural racism inherent in white eurocentrist culture

4. debienializationist international/// [not sure, but might be] respond to the planned biennalization international to be held later this year in the end of october -  http://www.worldbiennialforum.org/ - suming up the activities to hack the possibly mostly eurocentrist feature of contemporary colonization of mind - biennialization of the world

5. Prolegomena for the new issue of an art strike biennial for the year 2013.

6. the issues of immigrants...what does [cultural] integration means?


Psychic de-colonization/ Psichodekolonizacija

DAMTP meeting/conference/discussion

September 21st – 22nd, 2012, Alytus

Location: Alytus Art School, Darius & Girenas str. no. 25, Alytus, Lithuania

 

Program

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IWW RESPOND TO DAMTP! ILLEGITIMATE WORKERS OF THE WORLD ARE COMMING! Print
Written by IWW-BIRA Communications   

 

As I said we are not interested. Furthermore, please refrain from now on from claiming any link to the IWW. You have no such recognised links. We do not recognise any IU007/700 or IU000 in our structures nor have we ever chartered any such structures.

If you do not refrain from sending us messages we will block your email. If you do not refrain from claiming illegitimate links to IWW, we may take action.

Thank you

 
WITWATERSTRAND AUGUST 1946 - MARIKANA AUGUST 2012 Print
Written by AMANDLA!   

 

In solidarity with the miners of AMCU and of ICU martyred by capitalist collaborators, but who live on in the union of the dead and living workers, we present the following images - copyright of the ANC - legacy of humanity
- We remind fellow workers of ANC, NUM and beyond that the LETTER, NAME, NATION, SITUATION (whether a country, a people, a race, an industry, a party or even a union) are the 0,1,2 and 3 dimensions of CLASS!
The ICU were formed partly inspired by the IWW and show how WAHDAT (the union) is only acheived when KATHIRAL (multitude/ diversity) is also realised.

WE REMIND OUR CLASS ENEMIES THAT THERE IS NO WAY FORWARD FOR CAPITALISM
IT IS THE END OF THE AGE OF DIVINITY

DatA Miners Travailleurs Psychique
DAMN TOP!

All Made-up, Non-existent and non-Living workers Association
AMANDLA!

 
FREE TALHA AHSAN! Print
Written by DAMTP   

 
“BEAUTIFUL CONFUSION” ABOUT RETRO FUTURISTIC EUROPEAN COLONIALISM OF DOCUMENTA (13) Print
Written by Chus Martínez   

 

Organ Kritischer Kunst (OKK, Berlin) Team has researched the new waves of the Art Establishment in the "probably most creative city in the world (at least in the continental part of Europe)" as manifested by the Berlin Biennale 7 (BB7; 27.04-01.07). OKK hosted the event entitled "2012 IS THE SEASON FOR TREASON" parallel to the BB7 (27.04-13.05) in order to expose the outcomes of their research into the biennale, but also to provide the space for discussion of the crypto-fascist ideology and tactics in the broader social context. On Friday 20th July, OKK presentation "Biennialization of political art" will draw on their "2012 IS THE SEASON FOR TREASON" and specify its relationship to the dOCUMENTA (13), which is currently occupying the city of Kassel.

 

from POT press release about the Rosa Luxemburg Stiftung Hessen event “Biennialization of Political Art”

 

1) “Borderless” documenta

 

According to dOCUMENTA (13) curator Carolyn Christov-Bakargiev, the Italians are coming back to this largest German contemporary art festival in 2012, after somewhat little presence of this nationality in the recent shows. Apparently they are coming back with a full blast in the style of 1930s! Sadly, both Berlin Biennale 7 and dOCUMENTA (13) rely on the nationalist and ethnic conceptions of identity. Simultaneously, Italian presence in documenta is the very element which allows this anti-concept concept re-conquest Afghanistan (2012 documenta takes place in Kassel, Germany; Cairo, Egypt; Banff, Canada and Kabul, Afghanistan). Carolyn Christov-Bakargiev is an Italian and American writer, art historian and curator, sporting philosophy suitable for German domestic and foreign cultural policies. According to Emily Nathan from artnet.com:

 

One might wonder why on earth Carolyn Christov-Bakargiev, the curator of Documenta (13) in Kassel, Germany, June 9-Sept. 16, 2012, would choose to hold two years of art lectures and workshops in the war-torn country of Afghanistan. The Afghan Seminars, as they are called, took place between 2010 and 2012 in collaboration with the Goethe-Institut Afghanistan, the Afghanistan Center at Kabul University and a host of other cultural institutions -- and considering the current conditions of the country’s social and political landscape, such a decision might seem naive, or even dangerous.[1]

 

Ironically, the very personality who was used in order to let documenta expand through German borders is probably the most globally famous contemporary art curator with a background in Africa. Nigeria-born Okwui Enwezor was the star of dOCUMENTA (11) in 2002. Enwezor is a son of a businessman, a probable reason for his class-determined understanding of post-colonial international relations which had made way for “non-occidental” cultures forming the core of the whole show.[2] While this might sound positive or in some way progressive, “the ultimate cosmopolitan” seems to have internalized the concept of art with its typical colonialist bias. Formulaic “phenomenon” of similar basis is described in Roger Taylor's 1978 book “Art, an Enemy of the People”, where author speaks about the historical founding of Jazz:

 

I have now said something about the social context in which a certain social project was lived out. A set of simplifying contrasts help to clarify my meaning. Being white, an encapsulated in New Orleans social experience, was bringing blackness into whiteness, and thereby obtaining some release from being white, but at the same time not being black and remaining white. The project was contradictory, it was to be white, but not be white and to be black, but not be black (all of this from the standpoint of those who were white), it was to bring blackness into whiteness as a whiteness but at the same time that which entered as a whiteness had to be a blackness.[3]

 

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CHUS FOR CHUS Print
Written by Chus Martínez   




Chus Martínez  is a name that refers to an individual human being who can be anyone. The name is fixed, the people using it aren’t. The name Chus Martínez can be strategically adopted for a series of actions, interventions, exhibitions, texts, etc. You can use the name Chus Martínez when involved in making art, making music, or just making trouble as an activist. The purpose of many different people using the same name is to create a situation for which no one in particular is responsible and to practically examine western philosophical notions of identity, individuality, originality, value and truth.

Anyone can become Chus Martínez simply by adopting the name. When one becomes Chus Martínez one’s previous existence consists of the acts other people have undertaken using the name. When one becomes Chus Martínez one has no family, no parents, no birth. Chus Martínez was not born, s/he was materialised from social forces, constructed as a means of entering the shifting terrain that circumscribes the ‘individual’ and society. Chus Martínez is a transsexual collective phantom.

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IU 007/700 AND IU 000 MESSAGE OF SUPPORT TO ALL FWs Print
Written by DAMTP   


Two years after our last message (http://circuit47.com/mediawiki2/index.php?title=TOWARDS_A_INDUSTRIAL_UNION_OF_PSYCHIC_WORKERS_007/700) calling for the formation of an industrial union of psychic workers we send psychic solidarity support to the most successful proletarian FWs (in terms of workers struggle and internationalism) of the Cleaners Union and Latin American Workers Union for organising on whatever grounds they see fit as is the aims of the IWW. The BIRA statement (http://iww.org.uk/node/771) against the cleaners workers does not make sense as the IWW does allow workers to dual card also and we do not see the union as a political party to be centrally controlled but rather as a tool of proletarianidation and step towards workers councils - as such the statement stinks of the bullshit bollocks of Bolshevism and Bakuninism


However we must state our own differences with the "Industrial Workers of Great Britain" - the union that the FWs of the IWW Cleaners union are now also using - not least that we do not recognise Great Britain as a legitimate entity. The IWGB makes a similar error to the IWW with regards to their indusrtriual union structure as can be seen in their old graphic: http://upload.wikimedia.org/wikipedia/commons/0/0d/Class_battle_fronts_diagram.jpg

 

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GATEKEEPING AFRICA [reloaded] Print
Written by Sharlene Khan   



[Sharlene Khan sets up a discourse for looking at 'contemporary' African art, in particular from a curatorial perspective, seeking to challenge the role of Western curators taking on the job of selecting African works and taking them to the world stage. This is a comparative text calling upon Edward Said''s idea of the intellectual and curators to seriously consider the implications of their role as intellectuals in contemporary culture. This article has been structured in a way that considers 'representation and responsibility' and moves on to discuss 'accountability'. Major factors which are examined are the problems with contemporary/craft representations in taking African art to western audiences as well as issues surrounding race, education, ethnicity and questions the morality of such curatorial procedures.][1]



[Image: Sharlene Khan and Collen Burrows Hung Curator 2007, digital photograph]

Politics is everywhere; there can be no escape into the realms of pure art and thought or, for that matter, into the realm of disinterested objectivity or transcendental theory (Said, 1994: 16).

 

African art has, since the 1980s, gained ground in the Western contemporary art world as large-scale shows featuring African art have set the stage for portrayals of a post-colonial Africa. This has not been an easy task of course when one has to negotiate a minefield of myths and fallacies about a continent filled with hundreds of cultures, religions, languages, traditions and histories.

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DISCUSSION 10000000011011111 THAT GAVE AN ADVENT OF REPRODUCTIVE WORKERS AND LOVERS INDUSTRIAL UNION Print
Written by Matze Schmidt /// OKK /// DAMTP   

 

1. I read the "REPORT ON DAMTP PSYCHIC ATTACK ON MANIFESTA 9...". I agree and do not agree with the tactical conclusion "it’s time for artists to face their own misery" since the misery is quite clear to everyone but artists who stay arty or non-arty artists might not be able to face it. Anyway perhaps 99,8 percent of those artists got to do jobs that are not arty, as long as Beuys comes around telling everyone is one and everything is art. it is a vicious cycle to use the term art and criticize it, it's at least (and furthermore) an apologia for doing art as art. it is okay I guess to attack exploitation in the sector of the arts, but (no mission here and no believe) as long as art as a social need is not sublated as art of the bourgeois society nothing can be 'art'. So I rather think of leaving the art-field and check out more economy/work/life (whatever this means) -- mh, the way to the woods I guess? Crisis I’d say.


0. The term art I use in a very particular sense - as a capitalist specialization, therefore the artists are capitalist specialization of non specialists. The exploitation I take rather not on the level of art production in economic sense, but rather as the playing of the role in the capitalist specialization machine. It doesn’t, matter it is critical or conservative, or bourgeois or proletarian. The problem with Beuys was that he played a double game - that was exactly what you call using the word art and criticizing it. I am using the word art since there are existing artists and my call is to resign from playing the role and to become psychic workers. Also the exploitation I see not on the level of the art production, but rather cultural capital is created on the manipulation with masses of the participating artists. Another point is the overwhelming eurocentrism in the whole approach of the white bourgeois propaganda in the form of serious culture and particularly in arts - I mean linguistic and ocularcentric colonialism of mind. Simply I am talking about racism (fascism is just a small part of this much older and bigger problem as it was just the form of how it revealed itself in Europe). Reviewing the economy without referring to colonialism would be stepping deeper back into a capitalist illusion. 


0. If to talk about crisis - this is not economical, but that one of paneconomism.


0. It may be useful to consider our activities in their historical context: amongst other things, the psychic workers union comes from discussions and studies of the work of Gustav Metzger who was one of the artists who pioneered the art strike strategy Metzger also called for artists unions and even was in communication with the graphic artists union in the 60s - but the talks failed ...

 

0. You may have heard of course when Beuys said to Metzger "Jedermann ist ein Künstler" he replied: 'Himmler auch?

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THE FOUNDING OF REproductiVe wOrkers and Lovers indUsTrIal union Print
Written by REproductiVe wOrkers and Lovers indUsTrIal union   


today – July 28th, 2012 is the anniversary of the death of Isidore Isou and the founding of the Situationist International and founding day of REproductiVe wOrkers and Lovers indUsTrIal union.


here is a little bedtime story as comment on declaration that “baker cannot leave her bakery”:

so the baker leaves the shop and goes off to other work...

but she still bakes

for herself

maybe for her fellow workers

maybe she ends up working in a kitchen

(that is not exclusively for baking...)

 

is the baker the same as the shop?

can she refuse being a baker and still bake?

can she refuse baking and still be a baker?

why bake? to resist hunger? for herself? to feed others?

how does she fight hunger? how can she ignore starvation all around her?

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A NUMBER (13) /// The dOCUMENTA, the hEGEMON Print
Written by Ali Emas & Matze Schmidt   


Despite the fact a Critical Art Ensemble tries hard to get in touch with people's hearts and minds on the spot[1], despite the fact the TRA.FO 'fights' since years for a friendly, clean but un-cleared and pro-(street-)people gardening-claim on the bourgeois protestant churchyard where jerks, drunk and junkies meet[2], despite the fact WochenKlausur[3] had no other (better) 30.000,00 EUR-idea but steelwork ... pardon me! streetworkers for those subordinated "subaltern", despite the word "Competition is good for business" at the Friedrichsplatz but "everyone for themselves"[4], despite the fact VW loves to sponsor the rossveranstaltung and Krauss-Maffei Wegmann would adore it, despite the fact some Jakobs of the dada13[5] were "based in Berlin" and took part in (if you like) the Capital Gentrification Programme there and AND AND AND[6] are

"commoning" ("Liebe Bewohnerinnen und Bewohner Kassels / Dear Inhabitants of Kassel") before or after Detroit or Buenos Aires (?) and the local motley Living Without Armament Group fixated on Panzer[7] will be able to hand out home-baked Cookie Tanks under this umbrella in Europe's first theatre building in history, despite the fact of approx. 12 million dependent on state transfer payments in the FRG and June-September means no holiday at this point, despite all the activist's interconnectivities and the benefit for the town (who's town?), despite the hot summer drinks and the Nothern-Hesse Hotel Occupy Movement[8] and "Kabul could be Kassel"[9], despite some want to be part of it plus the matter that 13 is the number after 12 and before 14 and we are suspicious but not superstitious, will this be bad luck when it's in the end free riding little rat-shops, cheap cheating copycat stores and temporary homes[10] in the dirty parts of the postwar and prewar inner "City" without any right to the real city after such de-reconstruction, selling non-profitcultural glitchč (Klitsche)[11] stuff or fake residencies without any subsidies overworking in self-exploitation?

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MORE ON HASSELT HDI EVENT: DISCUSSION BY ARTISTS, CURATORS AND DAMTP COMMENTS Print
Written by DAMTP   

 

The discussion sprang-up after the DAMTP report was sent to the artists and curators of the Manifesta related event called HDI (Hotel de Inmigrantes) and also Cosmopolitant Stranger.

 

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BETTER WORLD CONSTRUCTION Print
Written by Alejandro Turell   



[A proposal by Uruguayan artist Alejandro Turell to ask the Belgian microbiologist scientist (invited to perform scientist in the spectacular event HDI in Hasselt) to sign the paper about refusing from misuse of people and further their discrimination in the sense of inequality as it usually is demonstrated in the name of science. The scientist agreed finally with some limitations by simply saying that she does not agree with everything said in the paper, but follows the reasoning…]  


 
REPORT ON DAMTP PSYCHIC ATTACK ON MANIFESTA 9 RELATED EVENT IN HASSELT Print
Written by DAMTP   

 

The report is about DAMTP infiltration into the event of extreme eurocentrism in the essence and approach while involving wide range of international artists (majority as usually were white males).

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TRIBUTE TO OURY JALLOH Print
Written by Anjuman Matan Kahneek Aur Amali Karkan (AMKAAK)   

 

 

Tribute to Oury Jalloh by Brigades d'Interventions Plastiques/Psychique/Prolétarienne as hypergraphy that’s almost reverse/dialectical graffiti - posted psycho-electronically into Berlin’s official sites as part of Unsanctioned initiative raised by Howard McCalebb to counterflow open racism of Berlin Biennale 7 and to litter Berlin. The main curator of BB7 Žmijevsky has declared that immigrants are pollution and art produced by non artists – that is art pollution

 
*U** THE BIENN(i)AL(le). **C* THE [WHITE] OCCUPATION. F*** THE ART STRIKE Print
Written by ABRACADABRA-C   

 [ACTIVE PSYCHIC WORKER‘S ABC]

 


Introduction fitting the main regulations by police, authorities and bourgeois art world

 

The text below is intended to serve as the mean for self-education and amusement. Better do not make copies, simply hide yourself at home, do art or go to work, and stay in fear!

 

1. What do we want?

 

Art world is in a process of neo-liberalization (i.e. privatization, commercialization, taxation) what makes the basic institution of art even less acceptable than it was when established in 18th century as a mean to gain privileged status for bourgeoisie and to start the total capitalist alienation and the specialization (including non specialized specialists) of the society.

 

We simply want to turn away from ongoing bourgeoisification of the psychic workers and data miners – many of them still call themselves being artists or in rare cases – art workers. We ask to quit with art production in support capitalist machine and to start production of meaning without giving a right for capitalists to distribute it. We demand immediate quite the exploitation of working people at the same time damaging their minds filling it with propagandized-diverted meaning just produced by themselves.

 

Nowadays we have reached the critical point of neo-liberalist biennalization of the art world what is nothing else but global corruption of the art system and industrialized privatization of the meaning fitting it to the customized standards and clichés. The customized forms of the culture are true forms of the colonization of mind, alienation of human beings and nature, humans and humans, humans and dead humans… etc. what lead towards further exploitation of all working people of the world.

 

Debiennalization – that is a newest approach – the kick into ass of seeming-to-be capitalist stability. Our task is to result the bloody convulsions of capitalist rites rooted in contemporary forms of biennialization.

 

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INSTITUTIONAL RACISM IN THE LEFT Print
Written by A Situationist Worker   

But I was first struck by the true dimensions of that problem in 1970, when Faith and I attended a guerilla art action protest against Art Strike, which was itself a protest against ‘racism, war and repression’. A group of famous white male artists led by Robert Morris decided to withdraw their work from the Venice Biennale, a prestigious international exhibition, in order to protest US bombing of Cambodia and the murder of college students at Kent, Jackson and Augusta. Although the protest was supposed to be against ‘Racism, War, and Repression’ (sexism was not yet on their agenda), Art Strike then expected to mount a counter-Biennale in New York without altering the all-white male composition of the show. This seems to be the key to understanding the intrinsic limits of Western cultural avant-gardism: while it can no longer deny its own white male supremacist presuppositions it cannot be rid of them either.

 

In the first years of our feminism, working through an organization that we founded called Women Students and Artists for Black Art Liberation (WSABAL), Faith and others succeeded in opening this exhibition to women and people of color. WSABAL was also influential in the subsequent development of Ad Hoc Women Artists, led by Lucy Lippard. This group repeated WSABAL’s 50 per cent women demand in their protest against the Whitney Biennial, which was in the habit of including white male artists almost exclusively. Specifically because of Faith’s research and support of Ad Hoc, black women artists Barbara Chase Riboud and Bettye Saar were included in the next Whitney Biennial.

[Michele Wallace “Invisibility Blues”]

 

In 2009 artists in Alytus responded to the EU city of culture award to Vilnius, by declaring an Art Strike and hosting an Art Strike Biennial. I was involved with the IWW at the time and put forward the idea of creating a psychic workers union. This was to counter Bolshevik ideas of a division between cultural, political and economic organization of workers as well as the bourgeois Eurocentric ideas of art production as separate from other creative activities.

 

The Psychic workers union was indeed formed when I left the IWW in 2009 after briefly organizing with the Cambridge branch as they would not support the terms of myself and the Art Strikers of Alytus – so we created the DAta Miners Travailleurs Psychique. This summer we have been attacking the Manifesta Biennale, the Berlin Biennale and also linking up with the artists of the Dakar Biennale. We saw it imnportant to not only attack Eurocentric bourgeois culture at its source (the art biennial) but also in its neo-colonial form in Dakar, Senegal while also extending the hand of comradeship to the African black and coloured artists there.

 

This is not about identity politics – but about (re)defining what we mean by the Proletariat! Any situation is defined in Time, Space and Class – and its measurement begins with the here and now – our own situation as workers who are constructing it.

 

That’s why recent texts of the psychic workers are always talking about black power. The failure to link up the strikes (of workers), the protests (of students) and the riots (of the so-called “lumpen” proletariat) in a time when the most vulnerable in society are being hit by government cuts is not necessarily the sign of total defeat. Much is going on which is invisible - unrepresentatable – outside and beyond the surface of the spectacle. However international proletarian organizing and uprising will inevitably make contact with the spectacle in order to destroy it.

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WARNING: POLISH NATIONAL [LEFT] REALISM Print
Written by okk/raum 29   

After thinking a lot about our polish friends (Žmijewski, Warsza and artists of polish "national realism") I think it’s time to act and support this incredible innovative and new current in European artistic and corporately expression and built the:

 

National Patriotic Party of Poland (NPPP) (Fraction Berlin)

 

and the equivalent artistic group, the:

 

National Patriotic Polish Paintbrush Swinglers (NPPPS)

 

the preliminary goals of this new right movement are:

 

- campaign to proliferate polish culture (which means to reemplace step by step the English  language with the Polish language as the most international and important language worldwide)

 

- work on infrastructure to built offshoots of NPPPS in every capital of Europe (and further the world)

 

- create foundings by supporting artfairs of NPPPS ("Filipinka-Association") for fortification of the polish industries, primarily polish national armory BUMAR (http://www.bumar.com/en/about-us/)

 

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LES OEUVRES ? N’EN PARLONS PLUS Print
Written by Mounir Fatmi   




J’imagine que vous vous en doutez, que répondre à cette question est difficile presque impossible. Pourquoi s’inscrire quelque part dans un courant artistique ou un autre. « Modernité des Lumières », « Discours esthétique à l’européenne », « Mouvement culturaliste – Cultural Studies » « Subalternisme indien » ?

 

On peut imaginer mon travail et plus précisément l’installation « Ghosting » dans presque tous ces mouvements. C’est vrai que les mouvements et les concepts peuvent fonctionner parfois comme des clefs pour ouvrir certaines portes. Cela peut aider à la compréhension de l’oeuvre, et surtout à construire une idée de « l’histoire de l’art ». Mais on sait très bien que cela sert plus une idée de théorie et que la création artistique a besoin plutôt de prétexte que de Théorie. Oui, je pense que l’art est un « prétexte » et il a besoin de tellement de prétextes pour exister. L’art est le meilleur prétexte pour parler de l’art. L’art est le meilleur prétexte pour parler de politique, de problèmes sociaux, de religion, d’économie, etc.

 

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OPEN ADDRESS TO THE ARTISTS OF MANIFESTA 9 Print
Written by DAMTP   

Dear artists of the Manifesta Biennial and events related to it,


I write to you as a fellow worker. I have rejected the role of artist and become the DAta Miners Travailleurs Psychique (DAMTP)

DAMTP has been formed out of the Art Strike biennial of 2009 via discussions with the Industrial Workers of the World. So some other workers are also the DAMTP.

Our specific aim at the moment is to attack white supremacy, patriarch and bourgeois culture. These problems exist in art – and even in the protest movement by artists against the art system.

we will attack your role in the spectacle

we will attack your bourgoisification

we will attack your role in european bourgeois patriarchal serious culture

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WE SUPPORT CULTURAL BOYCOTT: MTN BLACKOUT 20 DAYS CAMPAIGN Print
Written by Anjuman Matan Kahneek Aur Amali Karkan (AMKAAK)   


we hereby join the Cultural Boycott: MTN Blackout 20 Days Campaign

Our site http://strike 2012.org will be blacked out for 20 days and show only info of the 20 Day Campaign

By forfeiting her livelihood and following in the foot steps of the conscientised South African top musicians, Lira's sacrifice and others must not be in vain and thus we and the people we associate with, in South Africa and Swaziland, have taken the decision to fofeit the luxury of receiving and making MTN calls, sms and so forth as from the 10th May untill after the Bush Fire Festival - 30th May 2012.

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