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Exhausting Immaterial Labour in Performance Iscrpljujući Nematerijalni Rad U Izvedbi Épuiser Le Travail Immatériel Dans La P

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Exhausting Immaterial Labour in Performance Iscrpljujući Nematerijalni Rad U Izvedbi Épuiser Le Travail Immatériel Dans La P Épuiser le travail immatériel dans la performance Édition conjointe du Journal des Laboratoires et du Journal TkH sur la Théorie de la Performance Iscrpljujući (no. 17), octobre 2010 nematerijalni rad u izvedbi Zajedničko izdanje Le Journal des Laboratoires i TkH časopisa za teoriju izvođačkih umetnosti (br. 17), oktobar 2010. Exhausting Immaterial Labour in Performance Joint issue of Le Journal des Laboratoires and TkH Journal for Performing Arts Theory (no. 17), October 2010 Épuiser le travail immatériel dans la performance Contenu Alice Chauchat, Mette Ingvartsen, Krõõt Juurak et Petra Sabisch pour everybodys everybodys est à tout le monde Bojana Cvejić et/i/and Ana Vujanović et Petra Sabisch La pratique d’everybodys 40 Épuiser le travail immatériel 4 Iscrpljujući nematerijalni rad 6 Exhausting Immaterial Labour 8 WochenKlausur Pourquoi est-ce de l’art? 44 Bojan Djordjev Editing a(s) Publica(c)tion 10 Dušan Grlja La pratique de la théorie : des effets matériels du travail « immatériel » 46 Conversation avec Maurizio Lazzarato 12 Petra Zanki et Tea Tupajić Akseli Virtanen The Curators’ Piece 51 L’immatériel en tant que matériel 17 Florian Schneider Bojana Kunst Notes sur la division du travail 53 Pronostic sur la collaboration 23 Judith Ickowicz BADco. Le droit face à la dématérialisation de l’œuvre d’art 57 1 pauvre et un 0 30 Vanessa Théodoropoulou Siniša Ilić Quand l’art devient l’entreprise 60 De la fatigue 32 Virginie Bobin Hybris Konstproduktion Branka Ćurčić, Kristian Lukić et Gordana Nikolić et Anders Jacobson Veuillez déranger – renégociations en cours 62 Labour & LeisurE : L’artiste (ne) travaille (pas) 34 Matteo Pasquinelli Marko Kostanić Le masochisme de la forme marchandise : L’art et le travail 36 le porno queer et l’art subtil du paradoxe 64 3 Bojana Bojana Cvejić et Ana Vujanović Bojan Djordjev Maurizio Lazzarato Akseli Virtanen Bojana Kunst BADco. Siniša Ilić Branka Ćurčić, Kristian Lukić et Gordana Nikolić Marko Kostanić Alice Chauchat, Mette Ingvartsen, Épuiser le travail immatériel Bojana Cvejić et Ana Vujanović Le choix d’aborder le travail immatériel dans les arts de la scène aujourd’hui à travers ce numéro conjoint de TkH (Walking Theory/ La théorie en marche) et du JDL (Journal des Laboratoires) a été motivé par la curiosité d’une suspicion. La cooptation récente, quoique tardive, de ce concept, revient à une approbation sans distance critique, symp- tomatique d’une pratique en quête de légitimation politique et d’une mise au goût du jour par le transfert théorique. C’est pourquoi le « dia- gnostic post-fordiste » dans le champ de la performance appelle à un réexamen qui pourrait compliquer le problème. Comment le travail et la production des arts de la scène se sont-ils transformés au cours des dix dernières années? Quelle est la spécificité de ces transformations, en regard d’autres média ou pratiques institutionnelles? Doit-on parler de de l’échelle socioéconomique de la précarisation, comparé aux autres production « immatérielle », ou bien ce concept s’avère-t-il trompeur travailleurs indépendants, free-lance ou auto-employés. Plutôt que de et inadéquat, brouillant l’appréciation globale de la situation, sa poten- nous plaindre du statut socioéconomique des personnes précaires ou tialité de résistance au capitalisme et d’autonomie envers celui-ci? Qui de célébrer l’utopie d’une production biopolitique qui échapperait à la plus est, peut-on parler d’une situation globale, quand la production mesure, il nous faut poser le problème autrement. Pour restructurer le post-industrielle et les nouvelles formes de travail qui en découlent problème, il nous faut d’abord différencier et identifier précisément les concernent principalement le capitalisme occidental, classe géoéco- formes matérielles de la transformation du travail dans la performance. nomique dominant un reste du monde dont la production reste par trop La production de la recherche artistique (dans le cadre de résidences, matérielle? de « laboratoires » et autres situations de travail temporaires) s’effec- tue à la jonction entre l’information, les relations sociales et le service, Notre suspicion première nous a poussé à re-matérialiser l’immatériel lequel prend principalement deux formes : l’atmosphère, l’étalage et dans et de la performance ; non pas le « capitaliser », mais l’aborder la présence valorisée de « l’artiste au travail » et la construction de en tant que problème théorique, par une approche critique et matéria- réseaux. La pratique des festivals et de coproduction pour les projets liste. En premier lieu, ce point de départ vise à dissiper les malentendus free-lance disperse et multiplie le travail indéfiniment. La prolifération autour de l’immatérialité ontologique de la performance, son éphémé- de projets à petite échelle mène à un rajeunissement de la force de tra- rité et sa disparition, que l’observateur superficiel associe à une ré- vail, un investissement dans la jeunesse comme promesse aussi bien sistance (immatérielle) contre la marchandisation. D’un point de vue que comme travail bon marché. En redistribuant sa pratique artistique matérialiste, la performance est un objet matériel, un produit et une selon le principe de l’éducation « open source », le performeur se spé- marchandise pour les institutions des arts de la scène. En second lieu, cialise en bricoleur polyvalent. Comme Pasquinelli l’observe dans son nous observons, au-delà du statut de la performance comme marchan- texte La Guerre Civile Immatérielle : Prototypes du Conflit dans le Capitalisme dise, que les activités que représentent sa production, sa diffusion, sa Cognitif, malgré l’intention de séparer la question de l’auteur de celle de circulation et sa consommation se substituent au « produit-perfor- la propriété dans un échange immatériel de savoirs, le « communisme mance » autant qu’elles le soutiennent ou le permettent. Ces activités des idées » ne réduit en rien la compétition, ou guerre immatérielle, au (qui ont connu un essor considérable au cours de ces dernières années) sein de la « classe créative », bien au contraire. Les stratégies proac- incluent l’information et le service, et leur matérialité est souvent tives d’auto-gestion supplantent la critique institutionnelle pour un ignorée. C’est la revendication bien connue d’un « processus qui dé- traitement homéopathique qui s’attache à ralentir ou soulager, même passe le produit », par laquelle les artistes, en prise avec une margina- temporairement, des conditions de travail normatives. Enfin, nous ne lisation culturelle et économique, reprennent possession de la valeur pourrons pas déterminer ici la matérialité spécifique de maintes activi- particulière de leur travail. En effet, le savoir et l’expérience sont incal- tés liées à la performance, méconnues, non rémunérées ou exagérées culables, et dépassent le cadre de la performance comme événement et surestimées... mais une telle spécification peut-elle faire plus que public. Il est certain que les travailleurs de la performance sont au bas confirmer une situation déjà connue? 4 Le Journal des Laboratoires - Krõõt Juurak et Petra Sabisch Wochen Klausur Dušan Grlja Petra Zanki et Tea Tupajić Florian Schneider Judith Ickowicz Vanessa Théodoro poulou Virginie Bobin, Anders Jacobson Matteo Pasquinelli Nous avons recherché d’autres approches à cette question, en invi- Comme le remarque Kostanić, l’art et le travail ont toujours été en tant des théoriciens à commenter la notion de travail immatériel, de conflit, depuis que les frères Lumière, tout en filmant leur propriété, la théorie politique et la philosophie aux études culturelles en passant réalisèrent le premier film de l’histoire du cinéma : les travailleurs sor- par le droit et l’activisme des média. alors que certains textes prennent tant de l’usine Lumière. Malgré les démonstrations critiques que Du- leur source dans le post-opéraïsme, voyant un potentiel politique dans champ ou brecht ont pu faire des mécanismes de production de l’art, la capacité du travail immatériel à produire une nouvelle subjectivité ou encore le programme soviétique post-révolutionnaire par lequel révolutionnaire, d’autres critiquent le capitalisme cognitif. Mettant en artistes et travailleurs définiraient ensemble le processus de produc- doute la valeur, l’accessibilité et l’impossibilité de mesurer le travail tion, l’enjeu de l’autonomie de l’art occidental (bourgeois) a occulté immatériel et ses productions (savoir et information), ils abordent les les conditions matérielles de son processus de production à travers problèmes du droit d’auteur, des marques, de la compétition et de l’in- l’histoire. Condamnant l’enthousiasme récent avec lequel la contre- formation comme bien commun. La troisième approche s’attache à une culture s’est identifiée au travail immatériel, Kostanić prône un com- analyse critique des modes d’organisation post-fordistes dans la pro- bat différent : défendre l’art comme une question d’intérêt public, pour duction immatérielle, en abordant les processus d’individualisation, de l’associer à d’autres mouvements de résistance contre la privatisation collaboration, d’entretien des relations, de communication, d’inclusion et l’abolition des droits sociaux dans la sphère publique. C’est pourquoi des temps de vie et de loisirs dans le temps de travail, etc. nous avons invité WochenKlausur, collectif d’artistes dont les projets À notre grande surprise, nous avons vu émerger une polyphonie d’in- sont ouvertement sociaux et « par trop matériels », leur travail reflé- satisfactions avec le concept
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