Written by DAMTP   

Beware! – The Freemasons of the Future right now are trying to whitewash their corrupted misery while using the words of proletarian critique. They are used to slave over “the phenomena of the ‘biennalisation,’ ‘financialization’ and ‘spectacularization’ of the political, beginning with the control and distribution of forms of artistic education, production and display on a global scale” (http://nabaartivisive.files.wordpress.com/2011/05/cs-no-order-magazine-eng.pdf )


The control of means and distribution of all forms of psychic production belongs to the psychic workers themselves. And that is not an application to already self-exhausted mode of Fordist production, but that of the whole capitalist exploitation what above mentioned cultural top bourgeoisie wants to cover-up with “human cultural face”. Even the rhetoric what they are used to pave their dirty games is that grabbed from modernists – particularly the spatialization of time dimension, what produces nothing else but power fields to oppress working people in contemporary societies.

Claim for s.c. post-Fordism in cultural production is a lie – there are no essential changes in europocentrist and racist approach of “high civilized” culture of white resistance since 60-ies:

“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 (more on the subject at: http://ringgoldinthe1960s.blogspot.com/2009/09/excerpt-from-invisibility-blues-reading.html )


No order had some black artist names we must warn them too because this exploitation psychic neo colonialism is new post 60s post independence of colonies strategy  to use black artists so new arena of struggle offer union action. 




Deploring is the demonstration of the envy towards the students’ disruptions of the biennials (in Milan and in Venice) in 1967. Art bourgeoisie claim for renewal of “the great process of social transformation” then interrupted. We agree that the process must be renewed – all artists must resign from playing their “progressive” role and join the industrial union of Data Miners & Travailleurs Psychique.







Alytus Biennial Reversion into Abolition of Culture And Distribution of its Aberrant Bacillus Right Abroad - Committee (ABRACADABRA-C)

DEad WOrkers Union of DAta Miners & Travailleurs Psychique (DEWOU-DAMTP)




Therefore we announce vigilance against poisonous proclamations of no-ordered cultural reformists at:



7 June 2011 Triennale di Milano
17.30, Triennale Lab room


9-10-11 June
Spanish Pavilion 54
Venice International Art Exhibition

20 June
Archive Kabinett, Berlin

Dieffenbachstraße 31.

10967 Berlin, Germany

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