ONOMATOPEE 170 ENTREPRECARIAT Silvio Lorusso

ENTREPRECARIAT Silvio Lorusso ONOMATOPEE 170 A COMPELLING AND RELENTLESS J’ACCUSE: DEBUNKING THE SOCIAL AND POLITICAL MYTHS THAT PUSH AN INCREASING NUMBER OF PERSONS TO PERFORM IN THE ENTREPRENEURSHIP CIRCUS — WITH NO SAFETY NETS. Antonio Casilli, author of En attendant les robots, 2019 ENTREPRECARIAT Silvio Lorusso ONOMATOPEE 170 ENTREPRECARIAT Everyone Is an Entrepreneur. Nobody Is Safe. CONTENTS Colophon 4 Acknowledgments 6 Precarious by Design Foreword by Geert Lovink 9 Origin Story 15 I. Core Values I.I Be Like Elon: What is an Entrepreneur? 21 I.II Expectations vs. Reality: Unboxing Precarity 38 I.III Fake It Till You Make It: Entrepreneurial Precariat or Precarious Entrepreneurialism? 64 II. Assets II.I Time: Shouldn’t You Be Working? 79 II.II Space: Squatting the Endless Ofce 101 II.III Mind: Hack Thyself 130 III. Platforms III.I LinkedIn: A CV That Never Sleeps 155 III.II Fiverr: Creative Self-Destruction 176 III.III GoFundMe: The Tragedy of Crowdfunding 209 Exit Strategy 226 The Spirit of the Entreprecariat Afterword by Rafaele Alberto Ventura 235 Bibliography 241 Entreprecariat: Printed by Printon (Tallinn, Estonia) Everyone Is an Entrepreneur. Print run: 1200 Nobody Is Safe. by Silvio Lorusso Made possible by Foreword Cultuur Eindhoven, by Geert Lovink Mondriaan Fund, Afterword Province Noord-Brabant by Rafaele Alberto Ventura and Onomatopee Onomatopee 170 ISBN: 978-94-93148-16-1 2019 Translation from Italian: Isobel Butters Proofreading: Josh Plough Editorial Advice: Freek Lomme Graphic design: Federico Antonini and Alessio D’Ellena (Superness.info) Typeset in: Monument Grotesk by abcdinamo.com ITC Garamond Condensed Italian edition: Krisis Publishing, 2018 Unless otherwise credited, all images reproduced in this book are the property of their respective authors. Every efort has been made to trace copyright holders and to obtain their permission for the use of copyrighted material. In the event of any copyright holder being inadvertently omitted, please contact the publisher directly. This work is licensed under a Creative Commons Attribution- NonCommercial 4.0 International License (http://creativecommons.org/ licenses/by-nc/4.0/). ENTREPRECARIAT Silvio Lorusso ONOMATOPEE 170 Acknowledgements First of all, I’d like to express my gratitude to Francesco D’Abbraccio and Andrea Facchetti of Krisis Publishing, as they were the ones with the ‘entrepreneurial vision’. Without them proposing to publish this book in Italian, I doubt that I would have found the confidence to turn my writing into a commercial product and a positional item. I am also very grateful to Margreet Riphagen (whom I thank for her generosity), Sebastian Schmieg, Adriano Vulpio (and his father Carlo, the accidental agent pro- vocateur that sparked this enterprise of), Ilaria Roglieri, Michele Galluzzo, Nicola Bozzi, Alex Foti, Tommaso Guariento, Paolo Mossetti (for their generous input and feedback); Julie Boschat-Thorez, Alina Lupu and Da- vide Saraceno (for their endless tips). I would also like to thank Josh Plough, who patiently proofread the manu- script, and Isobel Butters, as it was she who translated this book with care and creativity. Much of the contents appeared initially in blogs, zines, magazines and books, including Not, Modes of Criticism 3, MoneyLab Reader, Little John Magazine, Prismo, Doppiozero, CheFare, Minima&Moralia. I am grateful to the respective editors for hosting my thoughts, and I would specifically like to thank Valerio Mattioli, Francis- co Laranjo, Inte Gloerich, Geert Lovink, Patricia de Vries, Emanuele Bonetti and Loredana Bontempi, Pietro Min- to, Giacomo Giossi, Marco Montanaro. In 2018 I curated the 11th issue of the Pervasive Labour Union zine, dedicated to the Entreprecariat. I’d like to thank the initiator of the zine, Lídia Pereira, and the con- tributors for their insightful texts, reviews and artworks (François Girard-Meunier, Katriona Beales, Evening 6 Entreprecariat Class, Phil N/A, Juliette Cezzar, Dicey Studios, eeeff, Olivier Fournout, Priya Prabhakar, Melissa Mesku, Jamie Woodcock, Max Dovey, Alina Lupu, Phoebe Moore, Ne- fula, Giacomo Bofo, Lucia Dossin, Martine Folkersma, Anxious to Make, Gui Machiavelli, Michael Dieter). Various places have welcomed me and my ideas. In this regard I thank the Institute of Network Cultures and the Sandberg Instituut, Amsterdam; La Scuola Open Source, Bari; Macao, Milan; the Royal Academy of Art, The Hague; the Willem De Kooning Academy, the Piet Zwart Institute and the Nieuwe Instituut, Rotterdam; the Academy of Art and Design St. Joost, Breda; Drugo More, Rijeka; Praksis and Grafill, Oslo; Constant, Brus- sels; the PlanD festival, Zagreb; the Winchester School of Art; the University of Warwick; and finally varia.zone, Charlois. Furthermore, I’d like to mention the bookshops that gave me the chance to publicly discuss the Italian edition of the book and thus improve this one. Finally, a special, heartfelt thanks goes to Cristina. Rotterdam, September 2019 Silvio Lorusso 7 PRECARIOUS BY DESIGN Foreword by Geert Lovink 8 But don’t you know what an average man is? He’s a monster, a dangerous criminal. Conformist, colonialist, racist, slave trader, indifferent. Pier Paolo Pasolini, La ricotta We can’t just have a life, we are condemned to design it. This is Silvio Lorusso’s programmatic statement. Be- netton’s colourful 90s photography of global misery has become a daily reality. Slums are flooded by designer clothes and footwear. Versace refugees are no longer rarities. Envy and competition have turned us into sub- jects of an aesthetic conspiracy that is impossible to escape. We’re going for the lifestyle of the rich and fa- mous. The ordinary is no longer enough. We, the 99%, claim the exclusive lifestyle of the 1%. This is the aspira- tion of planet H&M. The McLuhanesque programmatic “Help beautify junk- yards” is now a global reality. Gone are the days when Bauhaus design was supposed to lift the daily lives of the working class. We’re past the point of design as an extra layer, aimed to assist the hand and the eye. Design is no longer a pedagogic discipline that intends to uplift the taste of the ‘normies’ in order to give their daily lives sense and purpose. Much like the pre-torn and bleached denim, all our de- sired commodities have already been used, touched, altered, mixed, liked and shared before we purchase them. We’re pre-consumed. With the radical distribution of funky lifestyles comes the loss of semiology. There is no control anymore of meaning. Brands can mean any- thing for anyone. This is precarity of the sign. In this book Silvio Lorusso confronts us with our beau- tified mess that is no longer an accident or a tragic sign Foreword 9 of a never-ending decay but an integral part of the over- all layout. Today’s design culture is an expression of our intense prototype lives. We, the exhausted class, want so much, we are the experience junkies, yet make re- markable little transformative progress. Our precarious state has become perpetual. When we confront ourselves with sci-fi precarity — that strange techno-reality ahead of us — the first associa- tion that comes to mind is the conformist 1950s. Sure, we wished we lived in a Blade Runner movie, but our reality more resembles a Victor Hugo novel or a Douglas Sirk film in which the hyper-real takes command. Bore- dom, anxiety and despair are the unfortunate default. That’s ‘real existing precarity’, comparable to ‘real existing socialism’ in the outgoing Cold War period. Casual precarity, everywhere you look. The terror of comfort drives us mad. The flatness of it all is contrasted, and accelerated, by the occasional modernism IKEA style that, in theory, should cheer us up and comfort us, but in the end only provoke us to an inner revolt against this manufactured reality. What’s to be done with workers that have nothing to lose but their Ray-Ban sunglasses? We can’t wait for Godot, not even for a split second. No matter how desperate the situation, the uprising simply won’t happen. At best we attend a festival, expand our minds and body — and return to void. In The Courage of Hopelessness from 2017 Slavoj Žižek writes about the antagonism that is generated be- tween the precariat and the traditional working class. He writes: “One would have expected that the increasing exploitation would also strengthen workers’ resistance, but it renders resistance even more difcult.” The main reason for this, according to Žižek, is ideological: “precarious work is presented (and up to a point even 10 Precarious by Design efectively experienced) as a new form of freedom.” For Žižek precarious workers are similar to consumers that are constantly confronted with the ‘freedom of choice’. We are becoming curators of our own life. As Euronomade warns in their 2017 statement on plat- form capitalism, “we are in the presence of a protean composition of living labour, where a non-qualified worker works side-by-side with an ‘innovation profes- sional’, all within a highly urbanized metropolitan land- scape.” Some are more precarious than others. This is not merely measured in objective terms. Being precarious is a state of mind, a ‘psycho-class consciousness’ turned identity politics. This subcultural experience then opens the possibility to sympathize with the ‘real’ Others. Euronomade observes “that the contemporary press often evokes the appearance of millennials, the digital natives educated and grown up with the internet, together with migrants with a high-level education.”1 Precarity can easily be read as a postmodern brand, a thousand flows of video clips, Insta stories and tweets that peacefully co-exist side by side, in a tolerant metropolitan setting that promotes multiculturalism as a way to tactically avoid talking about the hard facts of income disparity and segregation. But after we wake up, no longer under the spell of last night’s party, the depress- ing reality hits us hard.

Load more