Collectively Alternative Economies

Annotated Community- based

Bibliography Decolonial Narratives

On Artistic Practices

in the Expanded Field Environmental Issues of Public Art Feminisms Impacting Mediascapes

research by

Visible Project Indigenous Rights Cittadellarte – Fondazione Pistoletto Fondazione Zegna Labour Fights and

Public Art Agency Sweden Legal Loopholing Making Assemblies edited by Judith Wielander and Matteo Lucchetti Migrant Movements New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Preamble Alternative Economies Community- based by Rebecka Katz Thor,

Public Art Agency Sweden Decolonial Narratives Environmental Issues

At this moment, in the autumn of 2020, our shared public space is as contested as ever. As a consequence of the pandemic, citizens around Feminisms the world are asked to keep a safe distance from each other, which alters our movements in the

public sphere. And even more pressing, the passing Impacting Mediascapes of the summer bears with it a great responsibility to reflect on the demands made by the Black Lives Matter movement, questioning whether statues of Indigenous Rights former slave traders and colonisers should remain in the public domain. Art in the public sphere will, and should always, be discussed, assessed Labour Fights and reassessed.

This publication and digital platform are the Legal Loopholing result of a longstanding commitment by the Public Art Agency Sweden, as a governmental agency,

to matters of knowledge production in terms Making Assemblies of collective and critical work in the expanded Migrant Movements New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies field of public art. Between 2018 and 2020, the field of public art and provide a resource for its Public Art Agency Sweden was commissioned to development. Secondly, we wanted to reconnect initiate and support a wider dissemination of to a previous activity of the Public Art Agency Community- based knowledge of public art, as a part of the policy of Sweden, namely the Informationscentrum (Centre ‘Designed Living Environment’ and urban and for Information) which ran from 1976 to 1996 and societal transformation. We have encouraged, was a resource for art production, with an archive commissioned and funded academic research, and a library open to the public. The actual Decolonial Narratives organised conferences and seminars, published physical library resulting from this commission an overview of academic research at Swedish will, in a similar manner, facilitate both academic universities and collaborated with artistic and and artistic research, as well as being a resource curatorial education programmes to further the for artistic and curatorial commissions and Environmental Issues field – in order to establish and expand knowledge collaborations. With this we hope to further on the nature of public art, its processes and develop strategies for knowledge production within curatorial methods, as well as readings and and beyond the agency. Feminisms reflections on existing and historical works. In the spring of 2019, we invited Visible to – Rebecka Katz Thor, edit an ‘annotated bibliography’, that is, a classic Editor for In-Depth Materials and Reflection, bibliography with brief explanations of the major Public Art Agency Sweden, October 2020 Impacting Mediascapes themes of each book. Our aim was to broaden the scope and reach beyond solely Western academic publications, into other realms and expressions Indigenous Right relevant to the field of public art on a global scale.

What you have before you is the result of that Labour Fights commission – together with a digital platform available on Visible’s website and a physical library consisting of the books presented in this

Since 1937, Public Art Agency Sweden has explored Legal Loopholing publication at the Public Art Agency Sweden’s and developed the interaction between contemporary headquarters in Stockholm. art and public spaces. Through site-specific art, The idea behind this commission was temporary interventions, urban development projects, twofold: firstly, as stated above, we wanted to edit discussions and publications we strive to contribute to the Making Assemblies an overview of the knowledge of the extended development of both contemporary art and public spaces. Migrant Movements New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Contents Alternative Economies

Collective Narratives for Urgent Transformations 7 by Matteo Lucchetti and Judith Wielander – Visible Community- based

Collectively Annotated Bibliography. 19 On Artistic Practices in the Expanded Field of Public Art

Alternative Economies 20 Decolonial Narratives Community-based 30 Decolonial Narratives 38 Environmental Issues 56 Feminisms 72 Environmental Issues A Conversation with Emanuele Coccia 81

Impacting Mediascapes 89 Indigenous Rights 93 Feminisms Labour Fights 102 Legal Loopholing 106 Making Assemblies 110 Migrant Movements 119

New Archives 126 Impacting Mediascapes

Museum as a Public Space of Care by Gabi Ngcobo 137

Pedagogical Platforms 145 Indigenous Rights Performing Communities 152 Protest Forms 164 Publishing Matters 186 Labour Fights

A Conversation with Andrea Phillips 193

Queer Cultures 201 Racial Struggles 207 Legal Loopholing Rural Politics 215 Social Design 219 Sustainable Urbanisation 222 Making Assemblies Fundamental Readings on Socially Engaged Art 2000–2011 227

Biographies 229 Migrant Movements New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Collective Narratives Alternative Economies for Urgent Transformations Community- based

by Matteo Lucchetti Decolonial Narratives and Judith Wielander –Visible Environmental Issues

‘Poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the light within which Feminisms we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action. Poetry is the way we help give name to the nameless so it can be thought.’ Impacting Mediascapes Audre Lorde

The Commission Indigenous Rights

As curators of the Visible project, 1 we have been fascinated by the way in which long-term socially engaged art projects take form in their initial phases. What makes an artist, a curator or a collective decide to Labour Fights dedicate so much of their initiative, time and energy to give shape to a proposition for the collective good? When asked, they would often refer to reading as a source of inspiration for the alternative perspectives

that their projects embodied. So, when the Public Art Agency Sweden Legal Loopholing commissioned us with compiling this annotated bibliography on the expanded field of public art, we didn’t have to look any further than to the translocal network of practitioners that we have established

through Visible in the last ten years of work. The original commission Making Assemblies was to draft a bibliography that could be closer to the evolving methodologies of artists and curators, in their attempt to transform Festival de Performance de Cali, 2011, de Cali, de Performance Festival th by Helena Producciones, 1998–ongoing. Producciones, Helena by 8 Courtesy recipient) of the artists. Award (2011 Visible Migrant Movements 6 7 New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies Community- based Decolonial Narratives

Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights by Cooking Sections, 2015–ongoing. Cooking Sections, by Tidal Zones – On Climavore Photo by Colin Hattersley. Courtesy of the artists. by Colin Hattersley. Photo shortlisted project) Award Visible (2019

theoretical achievements into new spaces for action in the so-called a global context, through a transnational, intergenerational, gender Labour Fights expanded field of public art. In dialogue with the Public Art Agency, and racially diverse advisory board. We imagined a corpus of about we problematised the notion of ‘public art’ as a category responding to 150 printed materials, composed of publications focusing on artistic a very Western perspective on art and public space, and we interpreted practices in the expanded field of art with a public purpose. the expanded field as an interdisciplinary one, where many forms of The selection of the texts reflects a decolonial perspective that Legal Loopholing knowledge and points of view could join. takes into account the bias, privileges and power positions of those who wrote the dominant perspectives on art history so far. This research mutated its procedures from the collaborative By acknowledging the ever-changing and multidisciplinary

methodology through which the Visible project has been conceived, protagonists of such a field, this annotated bibliography aims at Making Assemblies creating, every second year, forms of solidarity and support with the showing the interdependence of the several positions that animate most current and interesting socially engaged artistic practices in the debate on the role of art in the public domain today. Migrant Movements 8 9 New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies The Concept around them. Environmental issues, indigenous rights, gentrifying processes, intensified migration movements, queer and racial We decided to focus on the expanded field of public art as a territory to struggles, are just some of the reoccurring urgencies that the artistic be investigated from the perspective of the financial crisis of 2007–08, interventions in the public sphere are dealing with, and that show Community- based as a symbolic event of the collapse of the globalisation of the economy the entanglement of the different art scenes in a global context. and its repercussions on the lives of people worldwide. Many of the As some themes emerged strongly in the last ten years of research, urgencies, problems and issues that artistic practices have been showing the global issues through which artistic practices are embracing in the public domain over the last ten years have to do with organising their work today, we decided to compile the bibliographic the consequences of such a crisis and, more broadly, with the effects suggestions through these topics, therefore offering many different Decolonial Narratives of neoliberal politics that intertwine with the financialisation of the thematic entry points that open up to a dialogical space among the economy and its abstract disconnection to the exploited resources on choices of the curators. Far from being a way of categorising in an the ground. With this in mind, the annotated bibliography focuses on encyclopaedic way the radical, non-normative pieces of literature the publications that emerged in the last ten years, as a way to analyse, presented here, we thought of these themes as a way to highlight document and critically reflect on the aftermath of such a crisis the urgencies of our times, and the use of them as a tool to establish Environmental Issues through the propositions of the artistic practices and the communities bridges towards researchers and scholars. Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Courtesy of the artists. Legal Loopholing Making Assemblies by Morten Goll and Tone Olaf Tone Goll and Morten by House Trampoline 2009–ongoing. Nielsen, (2019 Visible Award shortlisted project) Award Visible (2019 Migrant Movements 10 11 New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms 12 Mahjouba Initiative by Atelier Eric Van Hove, 2016–ongoing. Courtesy of the artist. (2019 Visible Award longlisted project) Urbanisation Sustainable (co-director of the Escuelita CA2M, Narawan Madrid), oftheEscuelita Kyo Pathomvat(co-director Taipei University inTaipei), ofEducation JuliaMorandeira Arrizabalaga National andCuratorial ofContemporary Studies on Critical Art, centre in San LUPey-Yi José), (founding oftheMAProgram director TEOR/éTica, aCentral contemporary AmericanandCaribbean art andchief curator of (co-director López Miguel A. take: can space ofwhatforms inthepublic current art onthere-negotiations debate represent thatcould indefiningthe list ofbooks aturning point a The following were joinusincollating colleagues ten to invited inmore detail. books enabling thereader explore inthesuggested to addressed topics thepublishinglanguage orreviews, well hyperlinksto houses –as as issupplemented withoneormore intheiroriginal –some note quotes present inthepublicdomain.Each andfuture bibliographical ofart ofthecurrent onthe representative themost as debate titles these thereasons why they each, noting have suggested publications ten board’s share to network, theirresearch alistof withusandcompile oftheVisiblebackgrounds whoare part advisory andcontexts, We curators ten then andresearchers invited from diverse fashion and advertising. ofart, inthecontext plants andimages thehistory broad as as ofEuropean normativity, of thephilosophy (EHESS)en Sciences Sociales inParis, work ontopics focuses whose Professor andAssociate philosopher Études attheÉcole desHautes writer, andEmanuele Coccia, of publicswithincontemporary art, construction andsocial the economic investigating Contemporary Art, University andBALTIC Northumbria Research Institute, Centre for Andrea Phillips, BALTICpositions. Professor ofBxNU andDirector to as reconfigureso historical anddefinitions understandings for –looking ways transform to ofdecolonisation normativenotions 2010–14)(CHR, inJohannesburg. Her dealswith curatorialpractice 2016)andCentre Organized Reenactments Gets (since for Historical founding member ofthecollaborative platforms NGO –Nothing Therespondents are Gabi curator, Ngcobo, public art. and educator fieldof intheextended practices informs andinspires artistic reflecttoday, onthemeaningofcreating abibliographyto which philosopher, researcher an academic andanindependent curator byaconversation bibliography witha isintroduced The annotated The Research Procedures Design Social Politics Rural Struggles Racial Cultures Queer Matters Publishing Forms Protest Communities Performing 13 Platforms Pedagogical

New Migrant Making Legal Labour Indigenous Impacting Feminisms Environmental Decolonial Community- Alternative Archives Movements Assemblies Loopholing Fights Rights Mediascapes Issues Narratives based Economies Alternative Alternative Economies (founder and director of the Reading Room in Bangkok), the RAW can communicate. And what we call migration is only the bridge Material Company (Marie Hélène Pereira, Dulcie Abrahams Altass, that allows one to humanely connect two realities geographically Fatima Sy and Tabara Korka Ndiaye – a transdisciplinary centre for distant from each other. We should rewrite the political geography of art, knowledge and society in Dakar), Sheila Sheik (lecturer, convenor the planet in this way: consider that a territory becomes political, it Community- based of the MA in Postcolonial Culture and Global Policy and the MPhil/ becomes public space only when it has been joined to other territories PhD in Cultural Studies at Goldsmiths University in London), Pelin Tan through migrations that have led the inhabitants of one to inhabit the (sociologist, activist and architectural theorist, 2019–20 Recipient of other and vice versa, and make the two spaces culturally and politically the Keith Haring Fellowship in Art and Activism), Meenakshi Thirukode inseparable.’ Perhaps this annotated bibliography represents a possible

(writer, curator and director of New Media for the Bushwick Film alliance that departs from the bookshelves of our living rooms while Decolonial Narratives Festival in New York), Joanna Warsza (curator in the fields of visual we are experiencing isolation and social distancing in the solitude and performing arts, architecture and head of CuratorLab at Konstfack of our homes. The bonds that this research visualises across book in Stockholm), Vivian Ziherl (curator, researcher, critic and founder of suggestions and urgencies of our times is already an extended field the not-for-profit foundation Frontier Imaginaries, working between where art practices for the common good are planting new seeds. Amsterdam and Brisbane). Environmental Issues

A Reflection on Public Space in Pandemic Times Feminisms We started working on this research in 2019, and little did we know that in the early months of the following year a pandemic would have affected our lives so profoundly. So, when we formulated the questions to the three respondents we reflected on how the experience of

different lockdowns at different latitudes and different governmental Impacting Mediascapes responses to the emergency were also symptoms of asymmetrical structures of privilege with consequently different conceptions of public space. Independent curator and artist Gabi Ngcobo, for instance, pointed out from her experience in Johannesburg, that ‘it is important 1 Visible (by Cittadellarte–Fondazione Pistoletto and Fondazione Zegna) is a project that researches, Indigenous Rights to resist what the pandemic is seemingly inspiring: regionalisms that produces and sustains socially engaged artistic will force us back into engaging from a conceptual vacuum lacking in practices in a global context. Curated since its reflectivity, solidarity and cross-continental dialogues that are more start in 2010 by Judith Wielander and Matteo

Lucchetti, Visible looks at art projects that consider Labour Fights urgent now than ever before’. We wanted therefore to problematise the social body as a potential for bringing about the Western construction of the public domain as a given, universally responsible transformation: artists who initiate accepted concept, and rather suggest its existence in its translocal long-term processes dealing with environmental issues, alternative economies, indigenous rights, new sense, operating via networks of dialogue and mutual support, where pedagogical models, migration and displacements, a multiplicity of uses and understandings are encompassed in a new among the many other urgencies of our times. Legal Loopholing formulation of such a concept. Italian philosopher Emanuele Coccia Visible’s name comes from the need to make visible the invisible artistic strategies that are being applied helped us in this effort, claiming that ‘the new public space is already daily in creative acts towards the common good in transnational and translocal’, suggesting that ‘the idea of place will society. Visible also alludes to how artists are able to change the framework, speed and scale through have to be abandoned in favour of migration’. He continues: ‘There is Making Assemblies which we perceive visible reality, and expand our public domain only through and in the middle of a migration: there horizons regarding what we consider our reality is a shared space only when two or more spaces, two or more places to be and look like. Migrant Movements 14 15 New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Visible Projects’ archive Alternative Alternative Economies Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements New Archives

Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies Collectively Annotated Community- based

Bibliography Decolonial Narratives

On Artistic Practices Environmental Issues in the Expanded Field of Public Art Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies and last edition of Visible Award Public Jury in the form of a Temporary Parliament. of a Temporary in the form Jury Public Award and last edition of Visible th

Scan the QR code Migrant Movements to access the Visible projects' archive 2019 Visible Award Temporary Parliament at the Salle du Conseil de Paris at the Hôtel de Ville. at the Hôtel de Ville. du Conseil de Paris at the Salle Parliament Temporary Award Visible 2019 the 5 This was Project and Lafayette Anticipations. Lorent. by Benoit Photo Project Courtesy of the Visible New Archives

18 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Alternative

Economies Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements by Elia Nurvista, 2015. Elia Nurvista, by Inc. Hunger, Courtesy of the artist. shortlisted project) Award Visible (2017 New Archives

20 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY ANDREA PHILLIPS ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA Alternative Alternative Economies Alternative Economies

Against Meritocracy: Agonistics: Culture, Power and Myths Thinking the World of Mobility Politically

Author AP Awards, such as Visible, are implicated Author JMA When the neutralising consensus hailed Jo Littler in a structure of social ascendence based on Chantal Mouffe by contemporary forms of social democracy has privilege. ‘Innate talent’ is a founding myth of clearly failed in representing the pluralism of society Publisher contemporary art. If we are to change the addiction Publisher and its demands, Mouffe’s agonism seems more Routledge to meritocracy that defines contemporary culture, Verso urgent than ever to re-animate politically the public we need to think about how we are gatekeepers sphere. In this publication she updates her project Year and how we allow access to the spaces, economies Year of returning the political to the heart of democracy 2017 and methods of cultural production. 2013 by understanding it as an arena for productive conflictuality, in different dimensions (international politics, cosmopolitanism, Europe, etc.). She further devotes a chapter to artistic and cultural practices, which she regards as instrumental in the construction of a counter-hegemony. Agonistic ‘The first problem with the contemporary meaning artistic practices, she argues, mobilise affects and of meritocracy is that it endorses a competitive, shape novel subjectivities against dominant powers, linear, hierarchical system in which by definition while seeking to reactivate the political in public certain people must be left behind. The second space in alliance with other critical experiences – problem is that the contemporary logic of and this is why they should endeavour to dispute meritocracy frequently (not always) assumes that the institutional realm. Labour Fights talent and intelligence are innate: it depends on and a centralised conception of intellect and aptitude. The third problem with The fourth key problem with the contemporary the contemporary idea of ideology of meritocracy is its uncritical ‘In my opinion, those meritocracy is that it ignores valorisation of particular forms of status, in who work in the field of the fact that climbing the the hierarchical ranking of professions and ladder is simply much harder status it endorses. The fifth key problem with art and culture fall under

some people than others. the contemporary ideology of meritocracy, the category of “organic Making Assemblies and the one which moves us into the territory intellectuals”, to put it in of considering why it has such currency and power, is that it functions as an ideological Gramsci’s terms.’ myth to obscure and extend economic and social inequalities.’

22 Pedagogical Social Protest 23 Platforms Design Forms ANNOTATED BY RAW MATERIAL COMPANY ANNOTATED BY ANDREA PHILLIPS Alternative Alternative Economies Alternative Economies

Les arts de la citoyenneté au Sénégal: ‘The Author as Producer ’ in Espaces contestés et civilités urbaines Walter Benjamin: Selected Writings Vol 2, Part 2, 1931–1934 Decolonial Narratives Authors RMC This book is a major contribution to the Author AP Walter Benjamin’s writing – and life story – Mamadou Diouf, research on African cities. It identifies different Walter Benjamin has been with me from an early stage, initially as Rosalind Fredericks socio-political, cultural and aesthetic sensibilities a school student through his writing on Brecht that were new at the time and which are brought Publisher (wherein he coined the term ‘dialectics at a Publisher into conversation with well-established practices Harvard University standstill’ to describe Brecht’s political methodology Environmental Issues Editions Karthala in Senegalese society. Rich and diverse in forms, Press of playwriting and theatre direction) and then as the practices analysed range from the technique of a PhD student getting lost in The Arcades Project, Year suwèr (painting under glass) to Senegalese hip-hop, Year a truly ‘poethical’ series of writings, to take up 2013 through a look at waste management and its actors. 1999 Ferreira da Silva’s term. But it is in ‘The Author as The negotiations and reconfigurations of urban and Producer’ that I find most connection to ongoing imagined spaces underpinned by the arrival of new debates about the role of the artist and curator in young people complicates the analysis of African contemporary politics, and a text I think of often cities. The contributions have the merit of following in discussing the Visible project. The short text is this density by moving away from a certain analysis a transcript of an address Benjamin gave to the which would have struggled to grasp the workings Institute for the Study of Fascism in Paris in 1934, of these arts of citizenship. in which he contrasts an ‘autonomous’ artist with a ‘tendentious’ one. → (to read the full note please visit the Visible project website)

‘You will remember how Plato deals present social situation compels Labour Fights with poets in his ideal state: he him to decide in whose service he is Labour Fights ‘L’intérêt de l’approche des questions urbaines banishes them from it in the public to place his activity. The bourgeois africaines en terme de communauté civique est interest. He had a high conception of writer of entertainment literature de permettre de penser la superposition et les the power of poetry, but he believed does not acknowledge this choice. interaction entre les ressources précoloniales, it harmful, superfluous-in a perfect You must prove to him that, without coloniales et postcoloniales et d’évaluer en même community, of course. The question admitting it, he is working in the temps comment les différentes ressources, ensemble of the poets right to exist has not service of certain class interests. ou séparément, sont sollicités de manière stratégique often, since then, been posed with A more advanced type of writer does dans les processus de formation et de fragmentation the same emphasis; but today it poses recognize this choice. His decision, des communautés politiques urbaines et de gestion itself. Probably it is only seldom posed made on the basis of class struggle, is des villes.’ in this form, but it is more or less to side with the proletariat. This puts familiar to you all as the question an end to his autonomy. His activity of the autonomy of the poet, of his is now decided by what is useful to freedom to write whatever he pleases. the proletariat in the class struggle. You are not disposed to grant him Such writing is commonly called this autonomy. You believe that the tendentious.’ New Archives

24 25 ANNOTATED BY ANDREA PHILLIPS ANNOTATED BY ANDREA PHILLIPS Alternative Alternative Economies Alternative Economies

Capitalist Sorcery: Cornelius Cardew: A Life Unfinished Breaking the Spell Community- based

Author AP Musician, organiser and writer John Tilbury John Tilbury is a pianist and multi-instrumentalist, whose work Authors ‘Neo-pagan witches have learned that in the first has been core to the development of live prepared Philippe Pignarre, place the technique or the art, the craft that they call Publisher instrumentation techniques and, perhaps most Isabelle Stengers magic is not what has to be rediscovered, in the sense Copula importantly, the insistence of an ethic (or politic) of an authentic secret. It is a matter of reclaiming, of collective music-making. He played alongside Publisher of reactivating. And it is also a matter of relaying Year Cornelius Cardew until the latter’s death in 1981 Palgrave Macmillan 2008 and was involved in the development of AMM,

Environmental Issues the old knowledge that such an art forces one to pay attention, to protect oneself, that is to say in the the ‘cryptic acronym under which the group still Year first place and above all, not to think of oneself as performs’ (p. 283) and the Scratch Orchestra. 2007 sufficient unto oneself. They have learned (again) the This book is the most intimate and detailed analysis necessity of casting the circle, of creating the closed of Cardew’s life and works. But also, within, Feminisms space where the forces they have a vital need for can Tilbury’s own ethics of listening and responding be convoked.’ shines through, alongside his uneasy relationship with Cardew’s fame on the European contemporary music circuit in the 1970s and 80s. Tilbury writes AP The authors do this as part of their ongoing as an historian, a friend and, most importantly as a dismantling of the dominance of Western scientific musician. Describing Treatise, the 193-page graphic rationality: ‘What makes people uncomfortable, music score Cardew wrote between 1963 and what is difficult to accept is that witches are 1967 he says: pragmatic, radically pragmatic: truly experimental technicians, experimenting with effects and consequences. We have the habit of looking ‘To “sight-read” through Treatise is (playing) experience, the performance behind; the technique for what would justify it an exhilarating experience … for there is thereby closer to improvisation. or provide a guarantee but a guarantee against is no time to think, to imagine – or But as source material the past is what?’ (p. 138). rather action and imagination coalesce always treacherous; it can turn the The artist Emily Hesse and I are trying to think to defy notational control, however tables on the indulgent performer, about what might constitute a ‘Witches Institution’ subtle and persuasive. Thus, and here hold him hostage; the bedrock of past in an ongoing debate about the future of cultural reservations surface, sight-reading experience is too easily accessible, too institutions and their current dismal, politically through Treatise the sound is created comforting, dissuades the performer submissive and hypocritical political structures. less on the basis of notation, more from leaving the ground, from flying What would/could an institution run by alternative on the basis of the player’s previous and discovering.’

Making Assemblies magic be? This question points to a radical future Making Assemblies that necessitates brave attempts to change; I believe that Visible is doing this right now. For me, this is like a political manifesto.

26 Performing 27 Communities ANNOTATED BY MIGUEL A. LÓPEZ ANNOTATED BY PELIN TAN Alternative Alternative Economies Alternative Economies

Dark Matter: Degrowth: Art and Politics in the Age A Vocabulary for a New Era of Enterprise Culture

Authors PT I met the authors of Degrowth: A Vocabulary Giacomo D’Alisa, for a New Era in 2013 on Ikaria Island in Greece in a Author ML Dark Matter is a brilliant exploration of Federico Demaria, Commons meeting workshop. They were involved Gregory Sholette the genealogies of critical art and the political Giorgos Kallis in alternative economies, community economy and economy of the art world. The author addresses cooperativism in commoning practice. The book is Publisher the dependency that exists between marginalised Publisher structured like a lexicon of degrowth. The authors Pluto Pr artists and art practices – what he calls the ‘dark Routledge argue that degrowth signifies a society with a matter’ – and the mainstream elite art, highlighting smaller metabolism that has different structures Year the possibilities of alternative and non-commercial Year and serves new functions. The authors centre 2011 creative work to intervene in the public and 2015 degrowth as an imaginary around the reproductive introduce other ways of think and discussing economy of care and new commons. After the collectivism, ethics, the market, communication editorial and introductory part, the book functions and technology. like a manual of concepts related to degrowth. I think the book would be very useful to socially engaged artists and collectives who are involved in cooperativism and alternative community economy. ‘Militant street theater, counterfeit corporations, interventionist research portals, knitting networks, pie throwers, ninjas, snake charmers, river rafters, amateur scientists – ‘Degrowth signifies, first and foremost, a critique of growth. It calls for the decolonization of public debate this emerging aesthetics of from the idiom of economism and for the abolishment resistance may be no more than a of economic growth as a social objective. Beyond minor art of attractions and marvels that, degrowth signifies also a desired direction, one in which societies will use fewer natural resources and tactics, a politics of sometimes and will organize and live differently than today. overt and sometimes tepid acts of “Sharing”, “simplicity”, “conviviality”, “care” and the delinquency, or even bitter gestures “commons” are primary significations of what this society might look like.’ of discontent, and yet their “gifts of resistance” must continue to impart an expectation.’

28 Performing Protest 29 Communities Forms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Community- Making Assemblies based Migrant Movements 2008–ongoing. Zacharias Kunuk, by IsumaTV Courtesy of the artist. shortlisted project) Award Visible (2017 New Archives

30 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY LU PEI-YI ANNOTATED BY MATTEO LUCCHETTI

與社會交往的藝術:香港台灣交流展 A City Curating Reader: Community- based Art as Social Interaction – Performative Art in the City Community- based Hong Kong/ Taiwan Exchange

Authors ML Starting from the specific case study of Public Joanna Warsza, Art Munich 2018, Patricia Reed and Joanna Warsza, Author LPY This publication is the catalogue of the Art as Patricia Reed the editors of A City Curating Reader: Performative Mali Wu Social Interaction – Hong Kong/Taiwan Exchange Art in the City, put together a glossary that exhibition that was shown in Hong Kong and Publisher enumerates some of the key concepts behind the Publisher Kaohsiung, Taiwan, in 2014. The exhibition featured Motto Books idea of ‘city curating’, which is the main proposition 台北:中華民國視覺藝 the works of thirty artists and artist collectives from of this incredibly rich publication. Concepts 術協 會- AVAT Taiwan and Hong Kong, which explored new ways Year borrowed from philosophers and theorists, such of connecting art, society and the public in East 2018 as ‘structures of trust’, ‘commons’, ‘performativity’, Year Asian contexts. In contrast to an earlier emphasis ‘temporality and temporariness’, ‘marginality’, help 2015 on ‘intervention’ or ‘participation’, the term ‘social to draw a conceptual space within which artistic interaction’ aims to avoid the binary between art and propositions can enter into a productive dialogue society by highlighting their interactive relationship. with the urban fabric and its logics. The exhibition was divided into several sections that focused on the different approaches and functions of art in society: art as social movement, art as education, art as companionship, art as ecology, art as cultural preservation, art as social design and art as residency in community and space. ‘The American artist Mierle Laderman Ukeles has been, since 1975, an unsalaried artist-in-residence in the Sanitation Department of the city of New York. She opened her own office there in order to work more closely ‘City curating and more deeply ‘Hong Kong may have only started to focus on the with those who clean the city and keep contextualized public art would be an relationship between art and society in the last it alive. Why not go down this path exciting public service. It could become few years, but in Taiwan this approach has been in and make space for city artists and a process of mapping problems, issues, play for twenty years. Its development follows three curators, who will not only become city and needs, connecting artists and coexisting routes: the first is community organizing, experts for short and exciting projects, communities, without the sensation aiming to improve public space through the artist’s but who will help shape, build, and of emptiness after an artist has left. creative vision. Another route is the contemporary sustain life in the city.’ Public art of the city curating could conceptual art action interacting with society, bring the promise of being something showing pieces of previously unseen reality. more than art, breaking out of its A third route comes out of social activism…’ bubble, countering the feeling of things changing for the worse. This means not only asking questions but being there shaping our ideas of politics and public life.’

32 Sustainable Performing 33 Urbanisation Communities ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA ANNOTATED BY MIGUEL A. LÓPEZ Alternative Alternative Economies

Be Careful with Each Other Experiences of the Common Good: Community- based So We Can Be inSite/Casa Gallina: A Project Immersed Community- based Dangerous Together in a Neighborhood

Author JMA What affective economies are triggered by Author ML inSite/Casa Gallina is one of the most Julia Morandeira social artistic practices? What structures of support Pablo Lafuente committed, experimental and dynamic collective Arrizabalaga do they give rise to? What politics of care govern undertakings created in the last decade in Latin any aesthetic and political form of organisation or Publisher America. Casa Gallina’s activities responded to Environmental Issues Publisher institutionality? Written in the heat of the debate InSite Casa Gallina the demands and desires of the people who live in, Self-published around the so-called ‘new institutionalisms’, this (Howard Karno Books) occupy and in different ways use the Santa María la in Beta Local collection of interviews and exchanges with artists, Ribera neighbourhood in Mexico City. Experiences curators, political activists and neighbourhood Year of the Common Good presents a memory of this Feminisms Year associations tackles the role and place of affect 2018 independent space since its foundation: their 2015 and care – of a body, of a community, of a memory – activities and collaborations, but also the names in their work. Affective economies and care work of individuals and collectives that worked with are here understood in an expanded, porous, Casa Galina fostering new collective and social slippery and viscous way, away from moralising choreographies that had a meaningful impact on or individualised accounts but, rather, in their the way of life of the neighbours and local users. political, convoluted roughness. Throughout the book the question regarding forms of institutionality and organisation surfaces, raising the concern of building and imagining support structures that ‘We distrusted much of the A self-promoting, politically correct convey these affective and care economies. “revolutionary mimicry” usually banner, in these “creative” times. displayed by a lot of “socially As a team, that was our greatest committed” art. And how that concern. How could we initiate outsourcing of the social by art another chapter of inSite (with its has turned it into a museified global artistic halo) without faking a representation of an expectation of real anchoring in a neighborhood and ‘We need to create, instill and live change, emptied of its transformative guaranteeing that this rootedness new forms of imagination that put in potential. A sort of parodic staging would not turn into a cultural within everyday conflict, without gentrification of the area? How could circulation other affective economies collective energy or personal we tear it away from the spectacular of care towards others. Look as a rootedness in the risks or the socio- of the contemporary scene and the one-eyed person, collectivise shame, political convulsions of what is statements of “otherness”, without being referenced. Of course, that being content with aesthetically make transparent the baclava of outsourcing of the social serves enlivening a vulnerable environment collective struggle.’ to “energize” that expectation of or cloning, in museums, the story transgression that a lot of artistic of a social friction that surpasses works or curatorial intentions us and that perhaps we would never embody as a simulacrum. completely belong to?’

34 Social 35 Design ANNOTATED BY JUDITH WIELANDER ANNOTATED BY MEENAKSHI THIRUKODE

In the Swarm: Digital Prospects Local/Express: Asian American Arts Community- based and Community, 90s NYC Community- based Author JW Byung-Chul Han puts Twitter revolutions Byung-Chul Han and Facebook activism into question by arguing that digital communication is fomenting the

Publisher disintegration of public space and community Authors MT This collection of essays gives insight into Decolonial Narratives The MIT Press building practices, while slowly breaking up the Curtis Chin, the way Asian communities, including South Asian, possibility for real political action and significant Terry Hong, were built in the United States during the 1990s Year political discourse. The hyperactive senders and Parag Rajendra and its political landscape. This book is important 2017 receivers of this communication have become Khandhar to me for various reasons, one being the fact that it a digital swarm – not a mass, or a crowd, or a includes most of the South Asian community that ‘multitude’, (Negri/Hardt) but a unit of isolated Publisher shaped my own politics while I lived, studied and and fragmented individuals incapable of forming a Asian American worked in the United States in the early 2000s. ‘we’, incapable of calling dominant power relations Literary Review It includes an essay on one of the first collectives into question, incapable of imagining radically new I was a part of – SAWCC South Asian Women’s Feminisms planetary alternatives because of an obsession with Year Creative Collective – written by one of my mentors, the present and the culture of the ephemeral. 2013 the artist Jaishri Abichandani.

Impacting Mediascapes ‘The digital swarm does not constitute ‘Under the dictate of transparency, a mass because no soul – no spirit – dissonant opinions or unusual ideas dwells within it. The soul gathers and are not voiced in the first place. Hardly unites. In contrast, the digital swarm anything is ventured. The imperative comprises isolated individuals. The of transparency produces a strong mass is structured along different compulsion to conform. Like constant lines: its features cannot be traced video surveillance, it gives rise to the back to individuals. But now, feeling of being watched. Therein ‘Fueled by the activism in the Clinton era, individuals are melting into a new lies its panoptic effect. Ultimately, it NYC was a hotbed of ideas and movements for unit; its members no longer have a comes to a Gleichschaltung of pogressive South Asian Americans in the 1990s. profile of their own. For a crowd to communication, the repetition of the We had the Guerilla Girls and Godzilla in our emerge, a chance gathering of human same: Constant media observation has backyards, Desh Pardesh, the festival for South beings is not enough. It takes a soul, made it impossible for us [politicians] Asian Arts, Culture and Politics in Toronto, and the a common spirit, to fuse people into ever to discuss provocative or Black and Asian movement in London challenging a crowd. The digital swarm lacks the unpopular topics and positions openly the norms and generating new soul or spirit of the masses. Individuals in a confidential setting. You always ways of looking at ourselves. The Asian American Artists Workshop

Making Assemblies who come together as a swarm do not have to count on somebody passing it Arts and Activism were firmly (AAWW), the located in the basement on develop a we. No harmony prevails – on to the press.’ intertwined, with artists St. Marks in the East Village, was one such which is what welds the crowd together collaborating and producing incubator and nexus for activity – a safe space into an active entity. Unlike the crowd, works across disciplines for writers and artists alike to create culture the swarm demonstrates no internal and racial divides. and self-define multiple identities. Several coherence. It does not speak with a organizations were born at this time, including voice. The shitstorm lacks a voice, too. SAWCC, which has been housed by AAWW Accordingly, it is perceived as noise.’ for our 16 year history.’

36 Protest Racial Queer Pedagogical 37 Forms Struggles Cultures Platforms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Decolonial Community- based Narratives Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements 2016–ongoing. Attia, Kader by La Colonie Courtesy of the artist. Hugonnier. by Alix Photo longlisted project) Award Visible (2019 New Archives

38 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY NARAWAN KYO PATHOMVAT ANNOTATED BY BEATRICE GALLUZZO

Asia as Method: BAT: Bridging Art + Text – Toward Deimperialization Volume I, Volume II, Volume III

Decolonial Narratives Author NKP One of the perennial challenges for Authors BG One afternoon, while I was working in CAMP’s Decolonial Narratives Chen Kuan-Hsing Asian scholars and practitioners particularly in Michelle Eistrup, office, Frederikke Hansen, co-founder, co-director and the Social Sciences and Humanities is how to Annemari Brogaard curator of CAMP, pointed at the three books of the BAT Publisher avoid being excessively dependent on Western Clausen series lying on a shelf and said: ‘You should definitely Duke University Press theories, references and frameworks. In this book, read those’. I did read them, and I choose to include Kuan-Hsing Chen proposes a ‘decolonization, Publisher BAT in my bibliography because I consider it an endless Year deimperialisation and de-cold war’ of the old Hurricane Publishing source of inspiration. I met the chief author several 2010 colonial framework. He formulates an Asia-centric times, since she was one of the five artists presented in and regional ‘inter-referencing’ as an alternative Year Threshold(s), and she talked to me about the publication mapping methodology and points of reference in 2017 and its making with so much passion that I thought knowledge production in Asia. Chen himself cited ‘okay, people need to know about this’, and that’s my numerous works by Asian scholars and writers, little contribution in this respect. From the intro: ‘It particularly Parta Chatterjee and Mizoguchi Yuzo provides knowledge and new visual imagery to current (the book’s bibliography is a fine resource to identities through the rich potential, culturally and discover Asian thinkers). Asia as Method has been aesthetically, of contemporary art and writing. an influential and contentious book that still invokes The publication celebrates the many layers embedded both praise and criticism in diverse disciplines. in each artwork, while the texts indicate the vast amount of knowledge out there. The reader is handed a great volume of artworks and texts to create an open and reflective approach to the many aspects and influences that affect the artistic practice of each of the selected ‘The potential of Asia as method is this: artists. It is for the reader to follow different trajectories using the idea of Asia as an imaginary through the publication, as the texts relate to history, politics, aesthetics and personal accounts. The reader anchoring point, societies in Asia can can be led by her or his curiosity, adding different become each other’s points of reference, perspectives, interconnections and intimate stories so that the understanding of the self may along her or his journey through the publication. The first volume speaks of the connections between art, be transformed, and subjectivity rebuilt. performance and religion; the second volume deals with On this basis, the diverse historical racism as well as the omission of voice and identity; experiences and rich social practices the third volume gathers artists and writers who actively critique history and its influence on present times.’ of Asia may be mobilized to provide alternative horizons and perspectives. ‘The slaves walked on their bare feet Denmark being the first country to is method of engagement, I believe, has though two hundred years of Danish abolish the slave trade. Thousands of history without leaving any other men, women and children. And one the potential to advance a different trace than the bit of information we sentence to tell it all. And the claim understanding of world history.’ find in the school textbook about is also wrong.’

40 Pedagogical Racial 41 Platforms Struggles ANNOTATED BY SHELA SHEIKH ANNOTATED BY SHELA SHEIKH

Cinemas of the Mozambican Revolution: Colonial and Postcolonial Prostitution Anti-Colonialism, Independence and Internationalism in Filmmaking, Author SS The bi-lingual edited collection Colonial and La Colonie Postcolonial Prostitution, the first book to appear Decolonial Narratives 1968–1991 from La Colonie éditions in 2019, distributed via Decolonial Narratives Publisher French publishing house La Découverte, sets out La Découverte/ to bring to light the lasting, systemic links between Author SS In Azoulay’s Potential History, key moments La Colonie éditions colonisation and prostitution through a reading of Ros Gray across time and space that had previously for the French colonial and neo-colonial regulation of the large part been overlooked are taken as Year bodies – in particular female, poor, ‘subaltern’ or Publisher potentialities that demand to be attended to through 2019 ‘othered’ (e.g., in the words of the media, ‘Muslim’ Boydell and Brewer the mode of ‘rehearsal’. In some senses, Ros Gray’s or ‘Arab’) – and the historical continuum in the Cinemas of the Mozambican Revolution makes a treatment of prostitution, historically and nowadays, Year similar move, albeit through a different vocabulary. vis-à-vis state racism. Departing from the historian Feminisms 2020 As with Garland Mahler’s caveat of not wishing Christelle Taraud’s work, in particular her 2003 book for a wholesale retrieval of the Tricontinental in a La prostitution colonial. Algérie, Tunisie, Maroc, triumphalist and romanticised embrace, Gray’s book 1830–1962, the book assembles a range of voices, is far from a mere idealization of the period and is from political scientist Françoise Vergès, writer attentive to the frictions and contradictions therein, Arno Bertina and journalist Hélène Azera, to artist especially where the films in question’s afterlives and founder of La Colonie, Kader Attia, along with are concerned. But the main thrust of her reading is artists Pascale Obolo and Souad El Maysour, and a one of the revolutionary potential of the cinemas of commentary on the cinema of Nabil Ayouch. the period. In 1976, Frelimo (Frente de Libertação de → (to read the full note please visit the Visible Moçambique, the ‘Mozambique Liberation Front’), project website) which had led the armed struggle for independence against Portuguese colonial rule and had in 1975 formed a government, set up the Instituto Nacional de Cinema (‘National Institute of Cinema’, INC). ‘Why is La Colonie extending its of a possible repair, a subject that → (to read the full note please visit the Visible activities through this first book? deliberately lacks visibility in the project website) Because to fit into the ergonomics psycho-political space of our society, of a publication the anticolonial it is to act against the recycling and laboratory of discussion on all the dissolution in contemporary amnesia wounds of the colonial past that of the inequalities that weaken us all. haunt our society from the inside, […] The main goal of this publication

from its psyche to its politics, is to and of the project that gave birth to Making Assemblies ‘Cinemas of the Mozambican Revolution: the armed struggle for independence, invent an official form of counter- it, La Colonie éditions, is not only Anti-colonialism, Independence and when foreign filmmakers were invited narrative that is necessary to balance to extend, beyond the debates and Internationalism in Filmmaking, to make films that would break what the forces of our world. To reproduce, our activities, the issues raised, 1968–1991 is motivated by the desire Eduardo Mondlane, first President of in the form of an object that can be but also to provide the public with to understand what was singular about Frelimo, called the “curtain of silence” read, looked at, that can teach us tools to face and anticipate the the experiment with the moving image that hid the reality of Portuguese about our rights, about our History, unacknowledged and unexpected that began in Mozambique during colonialism from the rest of the world.’ and that will remain as the trace aspects of these issues.’ New Archives

42 Racial Racial Pedagogical 43 Struggles Struggles Platforms ANNOTATED BY RAW MATERIAL COMPANY ANNOTATED BY BEATRICE GALLUZZO

La Culture, ses objets-témoins Decolonizing Appearance Community- based et l’action muséologique: Sémiotique d’un objet-témoin: Le masque kanaga Author BG The curatorial concept of CAMP was CAMP/Center for Art conceived by its two founders as divided into two Decolonial Narratives Decolonial Narratives des Dogons de Sanga on Migration Politics pathways: the first one lasted from 2015 to 2017, with the title Migration Politics, the second one from Publisher 2018 to 2020 with the name State of Integration: CAMP/Center for Art Artistic Analyses of the Challenges of Coexistence. Author RMC Ousmane Sow Huchard, known as Soleya on Migration Politics Decolonizing Appearance was the first exhibition of Ousmane Sow Huchard Mama, is one of the few people who still remember the second round. Co-curated by the visual culture Senegal’s artistic history from its independence to Year theorist and professor at NYU Nicholas Mirzoeff, Publisher the present day. His book La Culture, ses objets- 2018 ‘this large group exhibition aimed at examining Le Nègre international témoins et l’action muséologique [Culture, its what appearance is, how it is used to classify, Witness-objects and the Museological Action] separate and rule human beings on a hierarchical Feminisms Year resumes his professional career – he is an scale, and how we can challenge this regime. 2010 anthropologist, museologist, musicologist and How do the colonised and the coloniser appear art critic who fought for museum studies to be to each other? What happen when appearance is rethought from the point of view of our cultural, decolonised? Appearing is a social event, a common social and religious history – and edifies us on encounter between myself and those to whom I the way with how this history was constructed as appear: because it is a social event, appearance is well as the political, geopolitical and economic regulated by the state; even in terms of the body, issues that conditioned it. This book is considered appearance is not a fact but a process of social an important reference work for those wanting to and legal judgment. The exhibition explored how find out more about what those years were like in appearance in all senses – legal, political, personal – Senegal. Moreover, and in addition to the fact that still determines the possibilities of life within the his fondness for the poet-president is, so to speak, colonial framework of classifying/separating/ tangible in reading these memoirs, the fact that aestheticizing, and it works on what it would mean archival elements are reproduced here (letters, to decolonise that appearance. Viewers are invited speeches, transcripts of radio messages, as well as to think and act on how to produce worlds where no photographs, etc.) makes it a reliable measuring one is illegal, where Black lives matter, where no one instrument for us all. has to use #metoo.’

‘Il s’agit pour nous de montrer, à nouveau, que la culture, depuis l’émergence de la pensée conceptuelle ‘People inevitably appear to each et symbolique, est au cœur de toute expérience other unequally because history humaine, donc sociale ; qu’elle est le moteur de tout processus cognitif et de conceptualisation ; qu’elle does not disappear.’ est au centre de la dynamique sociale qui, elle, est Migrant Movements le moteur de toute activité économique, politique, religieuse etc.’ New Archives

44 Racial Protest 45 Struggles Forms ANNOTATED BY RAW MATERIAL COMPANY ANNOTATED BY NARAWAN KYO PATHOMVAT

Fréquence Painthon A Genealogy of Tropical Architecture: Community- based Colonial Networks, Nature Authors RMC This slim publication is an anthology of and Technoscience Maya El Zanaty, rumours, love letters, poems and visual essays Decolonial Narratives Decolonial Narratives Cheikha Loum, that trace the life of the Médina, one of the Mamadou Diallo oldest neighbourhoods in Senegal’s capital of Dakar. Created by the French in 1914 in an act of Author NKP A Genealogy of Tropical Architecture Publisher segregation, the Médina is today renowned for its Jiat-Hwee Chang sets out to challenge a common practice of Nownow Papers strong community and activist spirit, verging on ‘traditional architectural historiography’ by radically the rebellious at times. Fréquence Painthon allows Publisher contextualising the history of an architectural style Environmental Issues Year readers a glimpse into the idiosyncrasies of this Routledge and effectively transforming the usually vague 2018 part of the city, not least through its homage to the and apolitical term of ‘tropical architecture’ into eponymous breakfast sandwich that is a staple of Year a politically charged discourse that reveals the daily life here and that becomes a symbol of the 2016 asymmetrical power relations of colonialism and the habits and interactions which sustain the fluidity of intricate network of imperial power. By engaging public and private life in Dakar. with postcolonial critique and the Foucauldian power-knowledge concept of ‘genealogy’ (a ‘history of the present’), Jiat-Hwee Chang explores the overlooked issues of how environmental technologies and the technoscientific knowledges and practices of tropical architecture are linked to various disciplines, from military technologies, medical theories, cultural assumptions and sanitary practices during the colonial time, to contemporary climatic design, tropical building science and institutionalised hegemonic norm in tropical ‘Par fréquence, nous architectural development. signifions la multiplicité des urbanités qui coexistent dans cette ville.’ ‘The tropics are not just a physical geography defined as the zone bounded by the Tropic of Cancer and the Tropic of Capricorn, or characterized by hot climatic conditions, they are also an “imaginative geography” that was, in the mode of Saidian Orientalism, constructed as an otherness to European civilization. “Tropicality” – an environmental otherness deeply entwined with other social, cultural, political, racial and gender alterities.’ New Archives

46 Social 47 Design ANNOTATED BY MATTEO LUCCHETTI ANNOTATED BY LU PEI-YI

The Life of Plants Mapping South: Journeys in South-South Author ML What if the change we are looking for in society Emanuele Coccia could come from the radical perspective of looking Cultural Relation at the world through the ‘eyes’ of plants? The Italian

Decolonial Narratives Publisher philosopher Emanuele Coccia takes us on a very Decolonial Narratives Polity Press original and personal journey through the metaphysics of mixture as a series of lessons to learn from plants Author LPY Mapping South is the outcome of an Year and their way of being in the world. Acknowledged Anthony Gardner ambitious exploration of the idea of the South that 2019 as the beings that make possible the atmosphere in took place over the course of almost ten years as which our life exists, plants are analysed for their way Publisher part of the South Project, initiated by Anthony Environmental Issues of teaching us unexpected things about other ways The South Project, Inc. Gardner in Melbourne, Australia in 2003. The South of being in the world. For instance, observing how (Asia Art Archive) Project comprised a series of artist residences, their body is ‘anatomically germinated’ to explain workshops and exchanges that were held in how having roots means to have a second body that Year Melbourne (2004), Wellington (2005), Santiago automatically mirrors, in reverse, everything the first 2013 (2006), Johannesburg (2007), then Melbourne body does. What if we could re-think migration and (2008) again and Yogyakarta, Indonesia (2009). our idea of so-called cultural roots from the point Divided into four themes – Navigating South, of view of plants, imagining them as a way of being Crafting South – Living South, Whose South tied to the earth, rather than being attached to the Where? and Translating South, this publication transitory nature of culture? presents the notion of the South not as a fixed geographic entity or a geo-economic category but as a distinctive mode of inquiry that addresses the ‘It is not only the most elementary ‘To perceive the world in depth means complex entanglements of history and geography, movement of any human body, it is to be touched and penetrated by it in order to open up new ways of understanding also the first and the simplest of the to the point of being changed and contemporary transcultural relations. acts of living beings—its paradigm, its modified by it.’ transcendental form. Breath is, quite simply, the first name of being in the world. Intellection is breath: the idea, the concept, and what we, ever since scholasticism, call an intentional species are all portions of the world in the spirit, before the word, design, or ‘The South is itself a mode of action may restore to the cosmos these questioning that, while it draws

intensities. Sight is breath: it is to Making Assemblies welcome light, the colors of the world, of these entanglements between it is to have the force of letting oneself history, geography, movement and be pierced by its beauty, of choosing a desire, seeks new ways of perceiving portion and a portion only, of creating a form, of initiating a life starting transcultural relation today. from what we have extracted from the In this sense, the South is both continuum of the world.’ analytic and catalytic.’

48 Rural 49 Politics ANNOTATED BY RAW MATERIAL COMPANY ANNOTATED BY MATTEO LUCCHETTI

Die Mauerbilder Permanent Temporariness Community- based des Papisto Boy in Dakar

Authors ML Through the use of a glossary, the Italian- Sandi Hilal, Palestinian collective looks back on almost twenty Decolonial Narratives Decolonial Narratives Authors RMC Within this small photo box one finds one Alessandro Petti years of artistic practice aimed at decolonising the Leonore Mau, of the only photographic archives of the large- gaze through which we look at the world. Fourteen Hubert Fichte scale murals painted by the late Senegalese Publisher concepts, including hospitality, participation, artist Papisto Boy. Using whatever materials he Art and Theory profanation, heritage and decolonisation itself, go Publisher could find, or allowing tourists to photograph his Publishing under scrutiny through texts penned by the artists Qumran murals in exchange for paints, Papisto Boy spent as well as Charles Esche, Okwui Enwezor and Eyal three decades covering the wall of a fish factory Year Weizman, while revealing themselves as stepping Year with images drawn from popular culture, ancient 2018 stones in the evolution of Hilal and Petti’s work. 1980 history, religion, myth or his own daily life. Papisto wanted the workers walking past the wall to enjoy and learn from the fruits of his labours, which he updated frequently, replacing faces and words washed away by the annual rains. Known widely as Senegal’s first graffiti artist, these photos are an important snapshot of Papisto Boy’s talent, as well as syncretic reference points of the Senegalese culture of the era. ‘The right of return is thus the quintessential aspect of decolonization. The right of return is the right to the urban, to a condition of heterogeneity and multiplicity that may already distinguish the ‘When will Senegalese sites of origin. The right of return is socialism find a few the right to mobility, to move freely walls for its most across the region and to live in more important painter and than one space at once.’ his incantations?’ Making Assemblies

50 Pedagogical 51 Platforms ANNOTATED BY SHELA SHEIKH ANNOTATED BY RAW MATERIAL COMPANY

Potential History: Unlearning Imperialism S.A.P.E. Community- based

Author SS Historically, processes of decolonisation and Author RMC The S.A.P.E. or la Société des Ambianceurs Ariella Aïsha Azoulay subsequent nation-building have often entailed Héctor Mediavilla et Personnes Elegantes [the Society of Atmosphere- Decolonial Narratives leaders of the newly independent state aligning Setters and Elegant People] is considered by its Decolonial Narratives Publisher themselves with a Western-style conception of Publisher followers as a way of life, or even a cult. Hector Verso democracy, human rights and sovereignty. Jump Editions Intervalles Mediavilla bears witness to this through the lens forward to the present moment and the residual of his camera. However, beyond history and what Year coloniality of power and being is evident across Year the S.A.P.E. summons from the colonial past, this 2019 both the former colonies and colonial metropoles. 2013 series of photographs illustrates in a very beautiful In this global context (an often ‘unbearable imperial way what links the former colonies to the Afro- condition’), Ariella Aïsha Azoulay’s Potential History: descendants, namely, resilience: a common capacity Unlearning Imperialism is a rallying cry to ‘unlearn’ to transcend traumas and survive them. Resilience the political tenets and concepts of (neo-)imperial is what allows the followers of S.A.P.E. to turn rule and to reconfigure an alternative origin for the an element that evokes a painful past for many, discourse of rights. ‘Progress’ is shown to always humiliating for some and shameful for others, into occur at the expense of some, and ‘conditions the a suspended moment in the heart of the ‘slums’, way world history is organised, archived, articulated which describe the spaces where the poorest and represented’ (p. 11). segments of our population live. A joyful procession → (to read the full note please visit the Visible of classy dandies fully embodying their role in the project website) city, gradually shedding the dense and dark cloud of the human condition to open up new horizons to their fellows.

‘Since the late eighteenth century, with rights from the ground of imperial the institutionalization of modern violence as a reparative process of citizenship and the differentiation undoing the sedimented differences of people around the globe along through which this violence is racial axis separating citizens from reproduced. Claiming the right not ‘La sape, c’est bien “une certaine noncitizens, the category of the citizen to be made a perpetrator is, was, forme de combat contre les has become one of the most elementary and should again be a constitutive components of the imperial condition. right of any political formation and circonstances difficiles de la vie”. But it may also be one of the bases for guarantor of a substantial form of […] Se saper, c’est une manière overcoming this condition. This book is reparations. It is essential not only for de défier personnellement la

Making Assemblies deliberately written from the position any configuration of cocitizenship, but of a citizen, necessarily also a citizen- also for undoing the violence invested morosité, de s’autoriser le rêve, perpetrator, who is committed to the in objects, methods, and procedures dans un contexte qui ne le task of reclaiming a nondifferential, so rights could be redistributed and permet généralement pas.’ worldly form of cocitizenship situated their inscription in objects actualized. in a shared world in need of repair. This book imagines and presents these At the heart of this project lies an rights as constitutive elements of civil attempt to regenerate a discourse of alliances and worldly sovereignty.’ New Archives

52 Protest Performing 53 Forms Communities ANNOTATED BY SHELA SHEIKH ANNOTATED BY BEATRICE GALLUZZO

Sovereign Words: Indigenous Art, TUPILAKOSAURUS – Curation And Criticism An Incomplete(able) Survey of Pia Arke’s Artistic Work and Research Author SS Sovereign Words: Indigenous Art, Curation and

Decolonial Narratives Katya García Antón Criticism, published by the Office for Contemporary Decolonial Narratives Art Norway (OCA) together with Dutch independent Publisher publisher Valiz, makes a significant contribution to Author BG The inclusion of this book in the bibliography OCA/Valiz the current debate on art and curatorial practices in Kuratorisk Aktion is my loving tribute to two amazing women and public space for a number of reasons. As a ‘reader’ curators: Frederikke Hansen and Tone Olaf Nielsen, Year that gathers together indigenous voices from around Publisher long-time collaborators in the collective Kuratorisk 2018 the world to engage with the contemporary challenges Kuratorisk Aktion Aktion. Among many other things, Nielsen is the faced by artists and cultural workers with respect to founder and co-director of Trampoline House (the ‘indigeneity’, the publication is long overdue and sets an Year refugee community centre hosting CAMP), and important precedent. All the more important is the fact 2012 Hansen is co-founder, co-director and curator of Feminisms that Sovereign Words is published by OCA, which takes CAMP. The massive book TUPILAKOSAURUS is the pains to acknowledge the Sámi people as the Indigenous result of a decade-long research project carried out people of the Fennoscandian region (including Finland, by both of them, and it constitutes the first survey Norway and Sweden) and has in recent years consistently in print of the seminal work of the Greenlandic- worked with Sámi artists and addressed issues of colonial Danish visual artist and thinker Pia Arke (1958– consumption in relation to Indigenous artistic practice. 2007), who is also among the artists presented in While many publications are dedicated to the question Threshold(s). Arke’s work is a precious witness to of the ‘Global South’ (see also Garland Mahler), OCA’s Danish colonialism in Greenland and what that programming demonstrates the necessity of including meant for Greenlanders. Her starting point was the Indigenous Rights ‘perspectives from the North’ within post-and decolonial silence surrounding Denmark’s colonial presence studies, as well as critical Indigenous studies. in her native land: at a young age, she decided to → (to read the full note please visit the Visible project devote her professional life to breaking that silence. website) The reading of this massive survey takes time and commitment, but it gives back so much. ‘This publication challenges cultural the future? Is it sufficient to widen the workers (Indigenous and non- hegemonic and Modernist art-historical Indigenous) to engage meaningfully and canon through the politics of inclusion? ethically with the histories, presents Is this expansion a new colonial model ‘In my delayed and unfinished and futures of Indigenous cultures, for Indigenous practices, or is it fostering settlement of accounts with colonial arts and thoughts, and to consider the the cosmopolitan kind of thinking that history I include a lot of stories that ricocheting effects that this engagement Indigenous communities have always family and friends opened up for me, a will inevitably have on international shared? To whom does the much talked- confused cluster of memories attached canonical perspectives. What will the of “Indigenous Turn” belong? And does to and released by these photographs new histories of the arts of Indigenous it represent a project of introspection taken in Scoresbysund (her hometown) practitioners look, feel and sound and revision in the face of today’s and spread for the north wind. I make like? How will novel methodologies of ecocidal, genocidal and existential the history of colonialism part of my word/voice-crafting be constituted to crises? Will such a project nevertheless history in the only way I know, namely empower the Indigenous discourses of re-assert a hegemonic structure?’ by taking it personally.’ New Archives

54 55 Alternative Alternative Economies Environmental

Issues Community- based Decolonial Narratives (video still), 2017, still), The Jealous One (video 2013–ongoing. Collective, Film Karrabing by Courtesy of the artists. recipient) Award (2015 Visible Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies

Scan the QR code Migrant Movements to access the Visible Projects’ archive section related to this topic New Archives

56 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY PELIN TAN ANNOTATED BY PELIN TAN

Arts of Living on a Damaged Planet: A Billion Black Anthropocenes Ghosts and Monsters or None of the Anthropocene

Decolonial Narratives Author PT From different ongoing Anthropocene Decolonial Narratives Kathryn Yusoff discussions and theories, this short book drives Authors PT Arts of Living on a Damaged Planet a clear argument and claim about the relation Anna Lowenhaupt demonstrates that… Publisher between racism, colonialism and the effects of the Tsing, University of Anthropocene. Anthropocene is highly gendered. Heather Anne Minnesota Press Yusoff’s arguments are vital to understanding the Environmental Issues Environmental Issues Swanson, terms and stages of the Anthropocene, especially Elaine Gan, ‘… we must share space with the Year in terms of indigenous studies and landscapes. Nils Bubandt ghostly contours of a stone, the 2019 A Billion Black Anthropocenes or None has clear arguments that may help art practices on Publisher radioactivity of a fingerprint, the decolonisation in various indigenous territories that University of eggs of a horseshoe crab, a wild bat strongly relate to non-human worlds. Minnesota Press pollinator, an absent wildflower in a Year meadow, a lichen on a tombstone, a Impacting Mediascapes 2017 tomato growing in an abandoned car tire. It is these shared spaces, or what we call haunted landscapes, that relentlessly trouble the narratives Indigenous Rights of Progress, and urge us to radically ‘The very “matter” of territorial imagine worlds that are possible impulse that materially comprised because they are already here.’ the Anthropocene is anti-Blackness; it is racialized matter that delivers the Anthropocene as a geological This book is a valuable contribution to socially event into the world, through engaged art formulating a critical imagination mining, plantations, railroads, for the future of the Anthropocene. labor and energy.’

58 Racial 59 Struggles ANNOTATED BY PELIN TAN ANNOTATED BY NARAWAN KYO PATHOMVAT

Climates: Architecture Decolonizing Extinction: and the Planetary Imaginary The Work of Care in Orangutan Rehabilitation

Decolonial Narratives Author PT How do architectural elements play a part in Decolonial Narratives James Graham planetary imaginaries under the Anthropocene? This book includes authors and architects, theories Author NKP In one of her conversations, Juno Salazar Publisher and practitioners that open up the debate through Juno Salazar Parreñas Parreñas said that ‘I wrote my book with many Lars Müller Publisher field research and architectural speculation. audiences in mind: conservationists who perhaps The book has an interesting organisation of content Publisher have never questioned the premises of their goals, Environmental Issues Environmental Issues Year with four main sections ‘Earth’, ‘Political Ecologies’, Duke University Press feminists who wouldn’t necessarily think that the 2016 ‘Corporealities’ and ‘Enclosures’ approaching threat of species extinction could be a feminist the discourse through climate injustice, control Year issue, readers who would not on their own be able and biosecurity, material effect, posthumanism 2018 to link the past to the present, and people who Feminisms discourse and case studies. The book aims to are often desensitised to the world around them.’ present spatial cases and discourses on the Indeed, Decolonizing Extinction is a book that Anthropocene and climate injustice through encourages the reader to question and rethink the architectural infrastructure, knowledge, materiality issues surrounding extinction and conservation and scale. Climates: Architecture and the Planetary ranging from labour and care, climate and the Impacting Mediascapes Imaginary can be a useful source for socially Anthropocene, human and non-human relations, engaged art practices and debates that deal with to decolonial and autonomy, and feminism and climate injustice and field research on more-than- sexual violence – all this through a case study of an human worlds. orangutan wildlife centre in Sarawak – in order to find new norms and practices to share this planet with ‘non-human others’.

‘… by recognizing the plural ‘… decolonizing extinction requires “climates” that humans have a fundamental reorientation toward constructed and instrumentalized others, especially non-human others, for various ends, they show us in which we accept the risk of living that the relationships between together, even when others’ lives people and the built and natural pose dangers to our own.’ environments are limited only by our imaginations.’

60 Rural 61 Politics ANNOTATED BY MATTEO LUCCHETTI ANNOTATED BY JUDITH WIELANDER

Decolonizing Nature: Contemporary Entangled Life: How Fungi Make Art and the Politics of Ecology Our Worlds, Change Our Minds, and Shape Our Futures

Decolonial Narratives Author ML Art historian T.J. Demos repurposes recent art Decolonial Narratives T.J. Demos history by interweaving the chronicles of socially engaged artistic practices with environmental Author JW Fungal networks can be tiny ephemeral Publisher activism and political ecology. Departing from Merlin Sheldrake puffs that live on little specks of dust or sprawl Sternberg Press well-known pioneering names such as the over ten square kilometres, weighing hundreds of Harrisons and Bonnie Sherk, the author describes Publisher tonnes, and reach the age of between two and eight Environmental Issues Environmental Issues Year the entanglement of art and ecology through Random House thousand years. We are rarely able to see them, 2016 the perspectives of indigenous communities, but they are inside us and all around us. Merlin denouncing the very Western gaze that informed Year Sheldrake is a biologist with the radical imagination the UN’s understanding of ecology, one that 2020 of a poet. Sheldrake reveals how this wonderful rarely acknowledges ‘post-colonial concerns and mycorrhizal world and our entanglement/conspiracy the inequality between so-called post-industrial with it could shift our understanding of living nations and those in the Global South’. The book together. These extraordinary and sophisticated unfolds around the urgencies that global warming is organisms put into question our concepts of causing and offers an incredible array of examples individuality and intelligence and prompt us to think of artists who engage in long-term projects, such in new ways about what it means for organisms to as Amy Balkin, Superflex and Pedro Reyes. ‘solve problems’, ‘communicate’, ‘make decisions’, Many of the featured projects are also part of the ‘learn’ and ‘remember’. Visible network, like the projects by Maria Thereza Indigenous Rights Alves and Mabe Bethônico.

‘A number of organisms with extreme tolerances have been sent into orbit, from bacterial spores to free-living algae, to rock- dwelling fungi, to tardigrades – microscopic animals known as ‘The choice is (still) ours to make. “water bears”. Some can survive if shielded from the damaging In no way should art be exempt from effects of solar radiation. But few, apart from a handful of lichen the imperative to confront this choice. species, are able to survive in full space Indeed, the cultural sphere should conditions, drenched in unfiltered It isn’t the first time lichens have fight to recognize the value of its cosmic rays. So remarkable are these helped humans to fathom the limits creative resources in constructing a lichens’ abilities that they have become of life as we know it. Lichens are living different form of life, decolonizing model life forms for astrobiological riddles. Since the nineteenth century, nature within and beyond the human, research, ideal organisms “to discern”, they have provoked fierce debate about even while we recognize that art as as one researcher writes, “the limits what constitutes an autonomous such offers no automatic or guaranteed and limitations of terrestrial life”. individual. The closer we get to lichens, redemption. The practices that have the stranger they seem. To this day, brought together aesthetics, ethics, lichens confuse our concept of identity and political ecology allow us to and force us to question where one glimpse the beauty of living otherwise.’ organism stops and another begins.’

62 Rural 63 Politics ANNOTATED BY PELIN TAN ANNOTATED BY PELIN TAN

The Great Derangement The Matters of Care: Speculative Ethics and the Unthinkable in More Than Human Worlds

Author PT Ghosh usually writes fiction, but The Great Author PT The book brings forward the practice and Amitav Ghosh Derangement and the Unthinkable is a non-fiction Maria Puig de concept of Care by situating it in an organism such book that primarily discusses the effect of climate la Bellacasa as soil. Beside a human-centric approach the author Publisher change on our everyday lives. The author’s fictional is defining Care through its agencies, materialities Penguin Books works deal mostly with relational territories, labour Publisher and practicalities in its processing in the more-than- and narratives across planetary existences, while University of human worlds. Care not in an exploitative form but Environmental Issues Environmental Issues Year this book focuses on the question of the unthinkable, Minnesota Press through a feminist politics within multi-temporality 2016 which I believe is an important aspect to bring ethics is at the centre of the book. The author aims to the question of how we imagine the future. Year to include a temporal dimension of care that evolves The book is centred on a past event, the author’s 2014 like ‘living soil’. This book is very valuable for socially memory of a tornado that struck New Delhi in 1978, engaged art practices that situate themselves in a which he describes as ‘a species of visual contact, of more-than-human world and cultivation-related beholding and being beheld’. This pivotal emotional care practices. event for him forces us to think of the improbable/ improbability of climate change. This book on the Anthropocene has the simplest imaginative discussion of all the Anthropocene books mentioned. It develops speculative imagination in critically tackling concepts such as improbability.

‘Only much later did I realize that ‘… relations of thinking and knowing the tornado’s eye had passed directly require care and affect how we care. over me. It seemed to me that there In tune with a non-normative was something eerily apt about approach to care as a speculative that metaphor: what had happened ethics, the grounds of this premise at that moment was strangely like are ontological rather than moral or a species of visual contact, epistemological: not only relations of beholding and being beheld.’ involve care, care is relational per se.’

64 Rural 65 Politics ANNOTATED BY JUDITH WIELANDER ANNOTATED BY SHELA SHEIKH

Nature Isn’t Real Peace with the Earth: Tracing Agricultural Memory, Author JW ‘Nature Isn’t Real’ is a lecture given by Timothy Timothy Morton Morton deep among the tall trees of Parc Duden in Refiguring Practice Brussels on the evening of 6 September 2016.

Decolonial Narratives Publisher The event was part of Nature – A Night School organised Decolonial Narratives Soundcloud by aleppo.eu as part of the Jardin Essentiel festival Author SS In 1940, Swedish suffragettes and peace (2016 Parckdesign). In 2014, the word ‘Anthropocene’ Åsa Sonjasdotter activists Elisabeth Tamm and Elin Wägner published Year was inducted into the Oxford English Dictionary. a pamphlet entitled ‘Peace with the Earth’ (Fred med 2016 Jan Zalasiewicz, the chair of the working group within Publisher Jorden). As artist Åsa Sonjasdotter writes, their sharp the International Commission on Stratigraphy, the Anagram Books analysis of industrial farming, which contests the Environmental Issues Environmental Issues official keeper of geological time, said at the time, increasingly absolute narratives of both landowners that the new epoch ‘sets a different trajectory for Year and sovereign states at the time, ‘predicted many of the Earth system’ and we are only now ‘realising the 2020 the issues that have become apparent today, including scale and permanence of the change’. Nature as an soil erosion, water scarcity, as well as food and stress anthropocentrically scaled concept – where nature is related issues’ (p. 16). The introductory chapter is always elsewhere, underneath (human) appearances, included at the end of Sonjasdotter’s book, which in the genes, under the street, over yonder in the borrows and extends the original title and responds mountains, just around that corner, over there in the to Tamm and Wägner’s earlier call. Further to this, forest – doesn’t work anymore. Morton advocates an English translation of the entire pamphlet will be through his concepts of ‘dark ecology’ that the much- published by Archive Books. Through a practice that feared catastrophe has, in fact, already occurred, and combines plant breeding and artistic research and is out of control. Morton invites us to wake up and face that is rooted in long-term processes of cultivation and the fact that we never stood apart, but have always been unearthing embodied histories from the perspective thoroughly in symbiosis, dismissing who is the ‘host of the vegetal, Sonjasdotter has for many years been and which is the parasite’. Only the deconstruction of drawing attention to the inter-species collaboration the agrilogistical system and its coercive relations with between plants and humans and the evolving non-humans will allow us to change our relation to the knowledges and cultures of breeding techniques that planet and also encourage a less coercive one between are harboured within plant materials and manifest humans. In order to bring this about, Morton suggests themselves in the qualities of given varieties. we drop the concept of ‘Nature’ once and for all. → (to read the full note please visit the Visible project website)

‘Nature is automatic anxiety trying to ‘Anthropocentric phenomenology is cover itself over. Anxiety is when things precisely this “elsewhere-ing” of the ‘When documents of different The demand has not stopped. Instead, do not appear exactly as they seem non-human. The paradox is that as historical forms of cultivation in it has escalated in ways that cause to be: something is “wrong” but this agricultural civilization version 9.0 (or this region are assembled together, irreversible damage to habitats and wrongness cannot be located anywhere. what have you) now covers most of Earth’s connections between agriculture, people. […] Cultivating these [ancient Agrilogistical functioning smoothens surface and its agriculture as such – let land extraction, and violence or sidelined] crops is one way to out this wrongness, treating it as alone industry – is responsible for an become tangible. Long-term nutrient reconnect to the deep memory stored an anomaly rather than as a default alarmingly large proportion of global extraction brought about depletion, in the living landscape and to begin condition. And nature’s nation must warming gases, most humans now intuit which increased the demand for more the process of refiguring how to live be the smoothest of all.’ that there is no such thing as elsewhere.’ farmland in Europe as well as overseas. in peace with the land.’

66 Rural Pedagogical 67 Politics Platforms ANNOTATED BY JUDITH WIELANDER ANNOTATED BY JUDITH WIELANDER

Politics of Food Politics of Plants: Preliminary Questions

Authors JW Since 2013, the Delfina Foundation has Authors JW Natasha Myers’s formulation of ‘involution’ Dani Burrows, invited a large number of artists and thinkers to Zheng Bo, favours a coevolution of organisms that act not on

Decolonial Narratives Aaron Cezar explore and discuss food production, consumption Natasha Myers competitive pressures but on affective relations. Decolonial Narratives and distribution with them. The residents have This perspective roots us in the Planthroposcene, Publisher conducted this investigation with attentive regard Publisher calling to change the terms of encounter, to make Sternberg Press to current political debates on migration, gender, Soundcloud allies with these green beings, conceive them as climate emergency, colonial violence, labour partners. Referring to Timothy Choy, we must learn not Year rights and social injustice. The practice of sharing Year just how to collaborate, but how to conspire with the Environmental Issues Environmental Issues 2019 meals became a ‘classroom’ where ideas and 2020 plants. Bo Zeng in conversation with Natasha Myers strategies could be shared and networks for future radically imagines how this change of perspective collaborations could be built. The book does not could challenge the rearrangement of the political have the ambition of being a comprehensive survey sphere in its agonistic dimension, so that plants can of artists and practitioners working with food- get space in the discourse, letting us discover ways of related issues, but, rather, it wants to shed light on existence that we are not aware of and lead us to joint a growing movement where radical imagination, decision-making processes on the future. solidarity and translocal situated knowledge could generate more sustainable food politics. ‘If every political decision that we ‘… we must relinquish control and make – to stick a shovel in the ground, abandon the notion that we hold or dig up something or change how domain over these green beings. the land is being used, or build We must get to know plants intimately ‘Imagine a fantastic voyage from ‘ … and thoughtful shopping of something here or tear something and on their terms (Myers, in press Norway to Istanbul in an old wooden the twenty-first century. Yet the down there – every single one of those b). And so, we need a planthropology sailing boat built for arctic voyaging; sixth extinction and the rise of decisions that we make around our (Myers, 2015b) to document the affective This boat is carrying an ingeniously authoritarianism are unlikely to be private properties and enclosures, ecologies taking shape between plants crafted mini-boat, like a chalice solved easily. We ought not to delude they all have consequences for plant and people, to learn to listen to their containing a mere handful of old wheat ourselves that everything can stay the life. We are not talking about a kind of demands for unpaved land and, as Maria and rye seeds found in a museum in same, or that if we only buy fair-trade representative democracy where there Puig de la Bellacasa (2015) reminds us,

St. Petersburg in Russia and in the food and stop using plastic bags, will be a place at the table for the trees, for a time outside of the rhythms of Legal Loopholing roof beams off sauna in Northern everything will be ok. It won’t. If there’s but there will be a place at the table in capitalist extraction. We need to tap Norway. These seeds are jewels. any hope that a decent and dignified the Planthropocene for the people who into their desire for forms of life that are The disproportion in size between future lies ahead for the working know those trees, for the people whose not for us. To do this, we must learn to the small “chalice” and the mother majority of humans, it can only lie in land it is who can speak for those vegetalize our all-too-human sensorium vessel carrying it symbolises this a full and systemic transformation trees. That’s the shift, I like to think. (Myers, 2014), and as Carla Hustak and I preciousness, as does the very idea of a approach to the way we eat, live, love Plants have their people that are in (2012) have argued elsewhere, learn how prolonged voyage using sail and wind and work together. It may feel like a relationship with them… who can speak to involve ourselves with plants. We must as the means of propulsion.’ daunting task, but the joys of deep up for the plants.’ reconstitute what Anna Tsing (2015) change are far more enduring than might call a planet fit for “collaborative the frisson of virtuousness that comes survival”. If not, their undoing will truly from local kale salad in a ham bag.’ be our undoing.’

68 Rural 69 Politics ANNOTATED BY JUDITH WIELANDER ANNOTATED BY JUDITH WIELANDER

Sowing Somankidi Coura: The Third Text, Numbers 151–152 Community- based A Generative Archive March–May 2018, ‘The Wretched Earth: Community- based Botanical Conflicts and Authors JW In 1965, at the age of 17, Touré left the newly

Decolonial Narratives Raphaël Grisey, founded republic of Mali, and travelled to the capital of Artistic Interventions’ Decolonial Narratives Bouba Touré its former colonizer, France, to work in the car industry, underpaid and with an unsustainable number of Publisher working hours. After purchasing a small Kodak Authors JW On October 21, after 42 hours of negotiations Archive Books Retinette, he started to document the precarious Ros Gray, during the rise of the second wave of the pandemic working and living conditions of migrant workers and Shela Sheikh crisis, the EU reached an agreement on the reform Environmental Issues Environmental Issues Year their struggles. In 1975/76 he and several members of of the Common Agricultural Policy (CAP) for the 2020 the independent Association Culturel des Travailleurs Publisher period 2023–2027. Most of the farming subsidies Africains (Cultural Association of African Workers) Third Text (390,000 million euros) will continue to be allocated decided to engage in farming in the region of Haute- ‘according to hectare’, backing away from the Marne. In 1977, Touré along with fourteen former Year already moderate goals to urgently combat the activist migrant workers founded the agricultural 2018 ecological, climate and farming crises. How are cooperative Somankidi Coura on the shore of the we to resist the perpetuation of such neocolonial Senegal River. They decided to propose an alternative and neoliberal systems of agricultural production way of thinking and subsistence agriculture (une and environmental politics, the blindness towards agriculture vivrière/ouvrier) meant to provide the state of devastation and the ‘wretchedness’ alimentary self-sufficiency. Somankidi Coura has and (recalling Fanon’s book The Wretched of the Earth, is driven by a strong socialist ideal of self-sustainment, 1968) of the earth in all its multiple forms? How inter-dependence and connectedness. Today, the to shed light on forms of struggles and counter- cooperative is run by around five hundred people movements of marginalised indigenous and local representing an extraordinary example of agriculture bodies of knowledge that have and are developing as a site of resistance, including cooperatives that different visions of coexistence and ‘world making’ generate healthy rural self-organised communities. practices based on ‘soil care’ and the inclusion The local school building houses Touré’s photographic of ‘earth beings’ as actors in political assemblies archive of Somankidi Coura’s development throughout (Mariasol de la Cadena)? the decades, to inspire other communities in building → (to read the full note please visit the Visible new planetary alternatives based on practices of soil project website) care. Sowing Somankidi Coura: A Generative Archive is a long-term research endeavour by the French artist Raphaël Grisey in collaboration with Bouba Touré ‘ The phrase “wretched earth” signals and other co-founders of the cooperative around the our ongoing engagement with anti- permacultures and archives of Somankidi Coura. colonial and anti-imperialist writers such as Fanon, but also the need to go ‘ This theatre play traces my life in from Senegal, Mali, Mauritania or from beyond their reconfigured humanism the village and my life as a migrant. the Senegal river banks. This theatre to think about the multiple human What are the reasons that push young play hasn’t been written in order to and non-human cohabitations that Africans to quit their environment? accuse anybody. But simply in order constitute the soil and, more broadly, They are identical for all the youth to inform to better react.’ our more-then-human commons.’

70 Rural Rural 71 Politics Politics Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing

Making Assemblies Feminisms Migrant Movements by Jasmeen Patheja, Jasmeen by It Ask For I Never Courtesy of the artist. recipient) Award Visible (2019 2003–ongoing. , part of Blank Noise New Archives

72 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY RAW MATERIAL COMPANY ANNOTATED BY JUDITH WIELANDER

AWA: la revue de la femme noire Decolonization and Feminisms in Global Teaching and Learning

Author RMC Digitized in 2018 by IFAN, the Fundamental AWA: an online archive Institute of Black Africa – Cheikh Anto Diop,

of African magazines AWA: la revue de la femme noire was an Authors JW ‘The classroom remains the most radical space Decolonial Narratives independent magazine produced in Dakar, Senegal, Sara Jong, of possibility in the academy’, bell hooks affirmed between 1964 and 1973 by a network of African Rosalba Icaza, in Teaching to Transgress: Education as the Practice women. Unique in its kind, AWA was the showcase Olivia U. Rutazibwa of Freedom (1994). The collection of essays in for an emerging wave of thought and reflections Decolonization and Feminisms in Global Teaching produced mainly by African women in the wake of Publisher and Learning definitively call for the creation of the African independences. With political essays, Routledge radical and liberating spaces in the academy and poems and topics related to fashion and well-being, beyond. The decolonisation of universities has to the magazine, far from making any claims, offered Year go through the re-examination of how knowledge is to bear witness to an era when women could tell 2018 produced and taught. It is only strengthened when Feminisms Feminisms their stories and formulate their visions of the world. connected to feminist thought and critical queer and Its digitisation provides us with the opportunity to gender perspectives open to its own decolonisation. go back to a time far from our own but with many Another precious resource are the manifestos related resonances to today, both in the relevance of the to ongoing political struggles that are interspersed intellectual proposal and in the similarities with the between the chapters. Drawn up by activists around subjects covered. the globe, they generate a strong relationship between political action and reflection in praxis.

‘Since the political struggles that feminist and decolonial thought emerges from cannot be fixed in interdisciplinary boxes, they have both embraced trans- and interdisciplinary modes of engagement. As Trinh Minha ‘ «AWA» n’a pas la prétention states, interdisciplinarity is not a d’être une révélation; son ambition simple adding of different disciplines together, but instead “it is to create sera comblée lorsqu’à travers ses in sharing a field, that belongs to no ‘ … the horizon of possibilities that pages des échanges pourront se one, not even those who create are imposed on us female academics faire qui concerneront toutes les it (1991) and, in so doing, it questions from the “South” and “educated” the notions of specialisation, expertise, by the academia of core countries in femmes … «AWA» se propose d’être professionalism, and discipline. the geo-politics of knowledge … simplement une raison de nous The academy is considered a site, Condemned to deny our origin in rencontrer, de nous retrouver pour which can nourish but also stifle relationship to those “other” critical thought and reproduce woman, for many of us to be desraizada mieux nous connaître, nous femmes dominant frameworks as well as (unrooted) became a sign d’Afrique, femmes du monde entier.’ colonial patriarchal oppressions.”’ of emancipation and freedom.’ New Archives

74 Pedagogical Pedagogical 75 Platforms Platforms ANNOTATED BY NARAWAN KYO PATHOMVAT ANNOTATED BY MEENAKSHI THIRUKODE

‘Gender in Southeast Asian Art Histories’ Living a Feminist Life Community- based in Southeast of Now: Community- based Directions in Contemporary Author MT I came to theory via my life experiences. Sara Ahmed Sara Ahmed’s Living a Feminist Life gave me

Decolonial Narratives and Modern Art in Asia, vol. 3, no. 1 the words to understand my subjecthood, my Publisher positionality and re-iterated what I had considered Duke University Press to be an articulation of my practice – particularly the recognition of the self as Feminist Killjoy, as well as Authors NKP Southeast of Now is a biannual publication Year moments such as the Feminist Snap. Yvonne Low, focusing on writings on contemporary and modern 2017 Roger Nelson, art from the Southeast Asian region (south of China, Clare Veal east of India). Launched in 2017 by a group of young art historians, scholars and curators working in the Publisher region, each volume of the journal presents different Feminisms Feminisms NUS Press Singapore topics such as the archive, movement, modernity/ modernism, pedagogy, etc. I chose to recommend Year the Southeast of Now issue on ‘Gender in Southeast ‘So much energy is involved in the 2019 Asian Art Histories’ as it is a subject that does not struggle not to be compromised by seem to have been explored in-depth as much as an existence. But as I have noted other topics in the series. The volume aims beyond discourses on ‘women’s art’ and ‘women artists’ by throughout this book, claiming the including representation and aesthetics and other figure of the killjoy, saying in this manifestations of gender and sexual difference situation or that “I am her” can be in artistic practices and cultural formations in Southeast Asia, with writings by Eileen Legaspi- energizing; there is something about Ramirez and Patrick D. Flores, and a special focus her, a sense of vitality, perhaps, a on the women artists’ initiative Womanifesto sense of rebelliousness and mischief Labour Fights (1997–2008) in Thailand. , perhaps naughtiness, even, which might be why and how killjoys keep ‘[I]n a supremely ambivalent gesture, circulating, keep proliferating; she the future Buddha leaves behind the many subaltern women who seems to be popping up everywhere. literally deny his princely existence As I said in an earlier chapter, if we to seek a new transcendent state. pick her up, she picks up.’ Is this a protofeminist act or simply another in the apparently limitless reinventions of phallocentrism? Women are, to begin with, so many foils – the condition of possibility for this model man to surpass himself in obtaining perfection.’ New Archives

76 Pedagogical Performing Publishing Queer Pedagogical 77 Platforms Communities Matters Cultures Platforms ANNOTATED BY ANDREA PHILLIPS ANNOTATED BY ANDREA PHILLIPS Alternative Alternative Economies

See Red Women’s Workshop: ‘Toward a Black Feminist Poethics: The Community- based Feminist Posters 1974–1990 Quest(ion) of Blackness Toward the End of the World’ in The Black Scholar, 44:2

Authors AP I grew up in the makeshift world of 1980s Decolonial Narratives See Red members self-organised feminist and anti-racist politics in Author AP I’m currently writing about the production the UK. I was dimly aware of the more activist end Denise Ferreira of inequality within contemporary art, in Publisher of image generation for the movement, but it was da Silva acknowledgement of what Denise Ferreira da Silva Four Corners only later that I encountered the extraordinary in this essay calls its ‘colonial (juridic, economic, history of a networked activist determinant of image Publisher symbolic) architectures’ (p. 84). What da Silva does Environmental Issues Year production, often in the form of posters, banners, Taylor & Francis, Ltd. here is extraordinary and politically critical for our 2016 leaflets and t-shirts made in, often women-only, times, in that she articulates Black Feminist Poethics workshops. The facilities were free to use as long Year as a mode of living and thinking which apprehends as costs of materials were covered, often set up in 2018 and moves beyond the categories of slavery Feminisms Feminisms squats and collective housing basements. (financial, based within timelines dedicated to and This book is a fantastic archive of posters made by a power of the concept of history and difference), by the See Red women’s collective between 1974 towards a space of being that enables Blackness to and 1990. This history leaks across contemporary move beyond the way slavery is predetermined. art, with many now-famous artists having been She follows C.L.R. James’s demand that ‘the task of involved in the movement, which has recently been black studies is the dismantling of Western thought’. celebrated in an exhibition at the Hackney Museum and Library in London. ‘Would the poet’s intention Would Blackness emancipated from emancipate the Category of Blackness science and history wonder about from the scientific and historical another praxis and wander the World, ways of knowing that produced it in with the ethical mandate of opening the first place, which is also the Black up other ways of knowing and doing?’ Labour Fights ‘It was a very busy time on the left. However, while Feminist Critical worksite? women were involved and active within various organisations and campaigns, and were attending For me, this call to the absolute unpicking of the meetings and rallies to do with housing, work, bonds of the capitalist slave narrative of education and low pay, these meetings were still Black history, written through capital accumulation, very or totally male dominated. The left wing as an essential and only way of re-ontologising Black at that time, both the radical and mainstream being, is particularly resonant in the current climate branches, didn’t take the Women’s Liberation of Black Lives Matter and the demand that cultural Movement seriously nor recognise that it would institutions are reformulated. Taking da Silva’s become a major part of people’s struggles across thinking on board, we need to understand that the world. Women’s issues were seen as a waste of exhibiting the subject of Blackness is not enough (for time, frivolous and diversionary, and were often it re-treads that same path of capital accumulation purposefully misrepresented by the left as well as the produced through slavery) but instead we need a right wing. We found ourselves marginalised within total rethink of the temporal–spatial structures of these campaigns and were expected to stay in the what we serve to display and cherish in the name background, keep quiet and make the tea.’ of poethics. This is very relevant to Visible. New Archives

78 Protest Racial 79 Forms Struggles 80 Indigenous Feminisms Environmental Rights Issues 2020 Year Technical School METU-Middle East Publisher Rubar Güngör Tekbaş Author A casestudy of Doski cucumber fromecofeminist perspective: about localseedstothe next generations are transferring agricultural knowledge Understanding howKurdish women ANNOTATED BY ANNOTATED

JUDITH WIELANDER or “Turkish Seeds”.’or “Turkish seeds as “Statecorporate Seeds” and seeds” “Kurdish as seeds local their calling by “origins”, on based seeds between distinction clear a making were women ‘Kurdish women’s ofknowledge. loss knowledge, andtraditional on havingseeds animpact oflocal behind theloss possible reasons the identifies knowledgetraditional thenext generation to andalso how womenperspective are transferring their Woman from investigates Studies) anecofeminist East Technical ofGender University and (Department Sciences,Middle for ofSocial thegraduate school RubarGüngörTekbaş's seed, local master’s thesis onthis Based ‘Doski cucumber’. called locally district, grows intheDoski region ofHakkâri’s Yüksekova whichand isanendemic seed, species cucumber oftheDoski thedisappearance reasons behind Doski Valley important oneofthemost be to seems JW

The 1990s evacuationofKurdish villagesinthe Politics Rural

Urbanization Sustainable Emanuele Coccia by Visible AConversation with and intellectual lives. and intellectual hugeliving rooms where into times, we free can ouremotional lives make and served real allto above lessdistinct spaces –thatinourformer Zoom Instagram, –Facebook, media social our homeswe have corridors transformed virtual thatare those more. Whatwe experienced was extremely new. in Confined ‘locked down’ thatwe haveexcavate. But there to issomething it’sfrom space: domestic from ourhomeswhere we’ve been Thenewpublicdomainisinseparable impossible. become from theGreek word meaning‘city’. polis Well, now allthishas thename for thepublicdomain – derives thatpolitics – point should thoughtinterms ofthecity, be public space the to thatwe oftheGreek believe that model isbecause domain. It thinkthepublic paradigm to andphysical technical cognitive, a as space andfor andurban once alltheend of thecity Visible – Judith Wielander Lucchetti andMatteo Design Social Politics Rural and future altered scenarios? altered future and of exception states of new creation the with limitations, subsequent the and pandemic coronavirus current of the light the in also today, domain public the is what practice, and research own of your perspective the From What isthepublic domain today? and Matteo Lucchetti Emanuele Coccia The advent ofthecoronavirus determined has – Judith Wielander Struggles Racial Cultures Queer Matters Publishing Forms Protest Communities Performing 81 Platforms Pedagogical

New Migrant Making Legal Labor Indigenous Impacting Environmental Decolonial Community- Alternative Feminism Archives Movements Assemblies Loopholing Fights Right Mediascapes Issues Narratives based Economies 80 Indigenous Feminisms Environmental Rights Issues 82 EC

JW |ML produced. be gestures to thatallow thisinseparability only those Thepublicdomainwillbe media. social necessarily It’s anymore, notthecity it’s anymore, notthehouses it’s not alife thatmustcharacterise thenewpublicspace. constitute own life from thatofothers allthedimensions that butalso notonly separate one’s to andthisimpossibility isthisidentity It possible. metaphysically isphysically and andentertainment physiology politics, art, between wheredomain means: itisaspace nodistinction reality. whatpublic For we really can onemoment, understand andshow coincide can thatthey are allexpressions ofthesame forms andemotional Thesymbolic disappeared. has statement from alecture, aprivate conversationa concert from apublic andarchitectural divide thatseparated rhetorical The physical, visible. become has inagivensociety affective manifestation and thatbindsany cultural, political thedeep unity accident, form. thesame,identical Through taken anepidemiological has andfor thisvery thisspace, moved into has reason everything halls,shops, everything universities, discos, concert television, andcultural life: galleries, museums, of ourentire political thetheatres have become private entertainment, allto above Suddenly dedicated secondary instruments ofcommunication, negative. Everynegative. genealogy, even one,even thematrilineal the originorthegendergeographical thatmakes agenealogy we should getridof theideaofgenealogy. isnotthe It I thinkthatrather thanfinding alternative genealogies, fostering socially transformative scenarios? patriarchal structures andchallenge them by that develop beyond neo-liberal, Eurocentric, any new genealogies thatare being written about collective research? Have you recently comeacross time, where do we lookfor new placesandareas of places where humanactivities have beenfrozen in depicted through images ofempty anddeserted assemblyWhile anddaily spacesofexchange are Where do you look for new genealogies? Politics Rural Urbanization Sustainable JW |ML strength offuture encounters. Here we don’t haveworry to the butabout genealogies about thedecisive one. excluded. be Andany could future meeting Everything everything used, be can isuseful. Nothing be can whoever we alongtheway. meet inspired, we with be mustbuildandexperience theaffinities to around thepast we mustnotlook ordiginto genealogical, thefuture willbe nor humanorigin.Andprecisely because ofclaimingand non-territorial, capable neither territorial We thatare nongenealogical communities willhave imagine to theerrorgenealogy: ofthefamily wasthis. ofthenation butalso andlife ingeneralThe community builton mustnolonger be territory wefrom. come donow,is whatto notwhogenerated us,the getout, how to It’s never Daddy’s orMommy’s fault ifwe’re Theproblem sick. fault ofgenealogyifwe find ourselves situation. inadifficult notthe generated andmixing, byhybridisation itiscertainly so pure lineisalways aform Everything ofhybridisation. been has a andwhatisthoughtofas pure we are genealogy: allbastards there inreality isno because especially Africa. isuseless, It inreplacingno point thefather withthemother, Europe with There theclosure is to that leads offreedom andpossibilities. non-European one,even the non-Eurocentric one,isastructure Design Social Politics Rural around theextended fieldofpublicart? reshape the formats, language andstorytelling How do you thinkthisnew hybridization can to bemore collective, diverse andinclusive. innovation, pushingknowledge production systems urgencies inaplaceofcontaminationandpolitical logics. choicescatalyseThe thesocialissuesand non-academic approach topublicspaceandits invited practitioners issymptomatic ofthe composing thisannotatedbibliography by the promiscuousThe andintersectional way of and narrations? What are thenew formats, languages Struggles Racial

Cultures Queer Matters Publishing Forms Protest

Communities Performing 83 Platforms Pedagogical

New Migrant Making Legal Labor Indigenous Impacting Environmental Decolonial Community- Alternative Feminism Archives Movements Assemblies Loopholing Fights Right Mediascapes Issues Narratives based Economies Alternative Alternative Economies EC The climatic, biological but also technological transformation JW | ML Interconnectedness and interdependence of the planet has altered everything and has above all radically changed the way culture can and must exist. Until a few years Translocality has emerged as the ago, the world was a vast space of objects and things in which interconnectedness of processes that happen in Community- based knowledge was a very rare element. For this reason, knowledge and between different localities. Artistic processes meant grouping together different ideas in the same space in the public sphere resulted as enduring, open or mind and the act of knowledge production coincided with and non-linear processes, which produce close the creation of an archive – physical in the case of libraries interrelations between different places and people.

and living in the case of scholars. Now, with the birth of digital As a result of globalisation, translocal networks Decolonial Narratives space, the relationship between physical and cognitive space made visible interdependence and the need for new has been reversed: the space of knowledge, the space of forms of empathy across borders and geographical archives is now infinitely larger than real space. This is the limitations. Can we see in these new networks and case in general, but also for individual objects. Social media are alliances a way to question and rework public space proof of this: for a single life, the archive of a day runs the risk of

Environmental Issues in a civic sense? Environmental Issues being larger than the day itself. This is precisely why the act of knowledge production can no longer consist in the construction EC The new public space is already transnational and translocal. of archives, but must rather occur in their deconstruction. It is The idea of place will have to be abandoned in favour of necessary to tear objects from the archives and combine them migration. There is public domain only through and in the Feminism Feminisms in the space outside the archive. It is necessary to produce middle of a migration: there is a shared space only when two or contiguity not foreseen by the archives. And it is also necessary more spaces, two or more places can communicate. And what to free virtual spaces from the obligation to record only what we call migration is only the bridge that allows one to humanly happens in ‘real’ life. connect two realities geographically distant from each other.

We should rewrite the political geography of the planet in this Impacting Mediascapes The question of the new language, the new formats of the new way: consider that a territory becomes political, it becomes narratives, is therefore no longer a purely rhetorical question. public space only when it has been joined to other territories It is a question of how archives can be forced, how archives can through migrations that have led the inhabitants of one to be transformed into dreams. Every night, in fact, the experience inhabit the other and vice versa, and make the two spaces Indigenous Right Indigenous Rights of each one of us is turned upside down, reassembled, culturally and politically inseparable. recombined with absolutely imaginary elements. This is what prevents us from considering ourselves as archives and making From this point of view, the other living species must also be experience, memory and archive coincide. Half of the things we involved. All living species migrate and it is only thanks to the Labor Fights see, feel, touch, smell, etc., half of our experiences take place in migration of thousands of species that our own biological life our dreams and cannot be traced back to an archive or a form is possible. In this case too, instead of dreaming of the closing of memory. This is what art has to do: not to substitute itself of ecological frontiers, it will be necessary to imagine that

for inquiry, not to want to write history and genealogy. On the ecosystems are born only thanks to and through migration, Legal Loopholing contrary, it must prevent our lives from being traceable back to the conjunction of land and living things that have never been history. It has to tear down the archives, the real and the digital encountered before. ones. It has to be our form of a collective, public dream. Making Assemblies Migrant Movements 84 85 New Archives

80 Rural Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Politics Urbanization Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies JW | ML Museum as a public space of care The museum will therefore be the school of those who do not stop building the world they live in and living in a world that When the museum became a domain of the State, does not pre-exist their construction. Now, building the world and its collections public, the objects and artefacts will not and can no longer be the prerogative of humans, but Community- based were turned into a repository of common knowledge, must involve all species: the world is an artefact produced by and its narrations a common story to which people hundreds of thousands of living species. The museum should could belong. But the real publicness of its premises be the meeting and exchange space for all species, the place was rarely achieved. A symbolic and highly interesting where every form of life tries to borrow its own identity from

case is when, in 1945, Malmö Museum opened its that of others and build the world together in a different way. Decolonial Narratives doors to host refugees from the Second World War who had fled from all over Europe to Sweden. In this case, the museum not only responded to a socio- political crisis, acting like a common good but the act

Environmental Issues also implied that culture, and specifically the visual Environmental Issues arts, were there to respond to a basic need, including food and shelter from the cold. Can we learn from such an experience today – imagining the museum

as an organic part of what we define as public space, Feminism Feminisms and its premises as a space of care?

Visionary ideas for today

Given the reflections shared so far in this Impacting Mediascapes conversation, and inspired by this speculative artistic reading of the museum of the future, can you share some visionary ideas on how art could engage with the public sphere today? Indigenous Right Indigenous Rights

EC My answer to the last two questions is the following.

The new public space can only be formed from the museum, Labor Fights which will have to transform itself and become not only a place where society collects its most precious artefacts, but the place where a political community invents, builds and preserves the

world. It must be the museum much more than universities Legal Loopholing and schools, because what we need to know is often an object that we ourselves make; and vice versa, what we build is also, and above all, something we build so that we can know it.

Making and knowing are no longer separate. The object to know Making Assemblies does not exist before its construction. And construction is itself the object to be learned. Migrant Movements 86 87 New Archives

80 Rural Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Politics Urbanization Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies Community- based Decolonial Narratives Environmental Issues Environmental Issues Feminisms Feminisms Impacting Mediascapes Impacting Indigenous Rights Indigenous Rights Mediascapes Labour Fights Legal Loopholing Making Assemblies (2015 Visible Award longlisted project) Award (2015 Visible

Scan the QR code Migrant Movements to access the Visible Projects’ archive section related to

(video still), 2012, by Forensic Oceanography, Oceanography, Forensic by 2012, still), Boat (video The Left-to-Die 2011–ongoing. and Charles Heller), Pezzani (Lorenzo Courtesy of the artists. this topic New Archives

80 Rural Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Politics Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY NARAWAN KYO PATHOMVAT ANNOTATED BY MATTEO LUCCHETTI

NANG Magazine Propaganda Art in the 21st Century

Author NKP NANG is a biannual 10-issue print-only Author ML This substantial and long-term research by NANG Magazine magazine dealing with cinema and cinema culture Jonas Staal Jonas Staal on the relationship between art and in the Asian world, with each issue devoted to a propaganda unfolds in this book with historical depth Publisher specific theme and chosen together with a guest Publisher and providing navigational tools to understand the Cinemasias Editions editor(s). The project is a response to the lack The MIT Press manipulative powers of the mediascape in times of of ‘English language print magazines entirely post-truth. Propaganda Art in the 21st Century also Year dedicated to cinema and cinema culture from Year offers a precious contribution to the study of socially 2021 this region’, despite the increasing popularity and 2019 engaged practices in chapter four ‘Popular Realism’, recognition of Asian cinema internationally. where Staal defines the categories of assemblism, The magazine focuses on producing various forms embedded art and organizational art, to analyse the of collaborative content like interviews, illustrations, common ground and connect the strategies of artists film-inspired short stories and screenplay excerpts like Chto Delat, Tania Bruguera and Ahmet Öğüt, to by independent filmmakers and other creative name a few. This reading comes from a practitioner practitioners whose work relates to the moving who shared projects and ideas with his peers, making image, with some issues addressing more socio- this book an invaluable contribution to the debate political topics, for example the issues on migration on how socially engaged art can contribute by giving and manifestos. These ten little books will certainly shape to radically different realities against the Impacting Mediascapes Impacting Mediascapes be an interesting time capsule of some segments manipulative forces that build our mediascape today. and communities in Asian independent cinema during this decade.

‘The intention is to ‘But since the first modern propaganda shed light on an area bureau, which manifested in a modern, imperialist democracy, covert of filmaking that is propagandas have shaped our world both mysterious and in forms and ways that we still cannot marginalized, especially in fully grasp. Our lack of understanding is ‘Emancipatory propaganda art

Making Assemblies one of the core reasons that such forms precisely exemplifies this most Making Assemblies regards to cinema in Asia.’ of propaganda remain effective, not powerful human competence and just as resonancees of our past but as awareness, whereby we learn that we continuosly operational in our present.’ can become more than the systems that script and direct us, where we can recognize how we can collectively author this world anew, where we can work to make a world.’ New Archives

90 Performing Publishing Protest 91 Communities Matters Forms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Indigenous

Rights Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements by Daniel Godínez Nivón, 2010–ongoing. 2010–ongoing. Daniel Godínez Nivón, by Tequiografías Courtesy of the artist. longlisted project) Award Visible (2019 New Archives

92 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY VIVIAN ZIHERL ANNOTATED BY VIVIAN ZIHERL

Bell’s Theorem: Geontologies: Aboriginal Art, It’s a White Thing! A Requiem to Late Liberalism

Author VZ The infamous and incendiary essay Bell’s Author VZ Geontologies takes aim at the very root of Richard Bell Theorem: Aboriginal Art, It’s a White Thing! was Elizabeth A. Povinelli liberal consciousness, and strikes hard. The book is originally written to accompany an artwork and the culmination of over three decades of work as an Publisher prize entry into the 20th Telstra National Aboriginal Publisher embedded and obligated member of the Karrabing The Koori History Arts Award. It was a shattering of orthodoxy. Duke University Press Film Collective and Emmiyengal community. Website Project The award had previously been reserved for What anthropology historically tries to fix and Environmental Issues ‘authentic’ Indigenous art, framed in ethnographic Year observe as ‘cultural object’, Povinelli situates as Year terms. Then, in 2003, Richard Bell’s Scienta e 2016 ‘analytics’. From there she mixes anecdotal story- 2003 Metaphysica (Bell’s Theorem), or ‘Aboriginal Art, It’s telling, real-life legal cases and artistic projects with a White Thing’ took the prize with a repudiation of a deft grasp of European philosophy, in attempting its very terms. It was a work that either had to win, to offer tools by which to unravel the grip of settler or be banned. The text offers a polemical and mock governance, colonial violence and their collective art-historical analysis of ‘Aboriginal Art’, with the deadening of the spirit. In terms of contemporary argument that as an industry and anointed artistic critical theory, the conceptual problems and genre it is a White-determined artefact. While the philosophical arguments are staggeringly large. essay speaks to a particular historical moment, it In the experiences of the contemporary Emmiyengal remains a vital critique and a seriously good read. world, they are the day to day conditions of life. Indigenous Rights Indigenous Rights

‘As we stretch the local across these seeping transits we need not ‘It is now approaching the fourth decade of Art Centres and they have spawned a new tribe of people scale up to the Human or the global, called BINTs (been in the Northern Territory). but we cannot remain in the local. It must be said, though that the largest tribe in We can only remain hereish.’ Australia is the Lyarmee who get their name from their ability to tell very convincing lies – especially to themselves. There is emerging, as we speak, a tribe of honorary Bints known as the Bookee (because they learn everything about Aboriginals from books and fully fledged Bints). The Bookee rarely, if ever, deign their presence upon the Aboriginal People about whom they have become recently expert.’

94 Protest Publishing 95 Forms Matters ANNOTATED BY BEATRICE GALLUZZO ANNOTATED BY VIVIAN ZIHERL

On Decoloniality: The Rainbow Serpent Concepts, Analytics, Praxis

Author VZ In terms of curriculum from a non-Indigenous Dick Roughsea perspective, The Rainbow Serpent can hardly be Authors BG During the endless days of the Italian omitted. Through at least the 1990s, Indigenous Walter D. Mignolo, lockdown, while I was working on my PhD proposal Publisher stories and experiences were entirely absent from Catherine E. Walsh on post-genocide Rwandan art practices, I came Australian Children’s the mainstream primary school curriculum in across Walter D. Mignolo and his colleagues and Classics – Harper Australia. National and local histories were a matter Publisher their decolonial theories. I remember reading Collins of colonial explorers and prosaic local inventions Duke University Press On Decoloniality in a few days, then I started to be such as the ‘stump jump plough’. However, at least curious about many other writings available online. Year in Queensland, nestled somewhere in almost every Year A couple of months later, I was admitted as one of 1975 children’s library was a copy of The Rainbow Serpent. 2018 the participants in the Decolonial Summer School The book’s author, Goobalathaldin Dick Roughsey 2020 held by Mignolo and other decolonial thinkers (1924–1985), was born in coastal country in the Gulf Feminisms on behalf of the University College Roosevelt in of Carpantaria and lived a traditional lifestyle in his collaboration with the Van Abbemuseum Eindhoven early childhood. At the age of eight, he was taken (if it had not been for the pandemic – which forced to a Presbyterian mission and partially separated us to meet online – we would have spent two weeks from his family. Later in life, and in dialogue with at the museum). Here you have an extract from what the airline pilot Percy Trezise, Goobalathaldin I wrote: ‘The second thing I learnt is that I am a white developed an innovative artistic practice painting Western person, living in a (white) Western country. both on bark and in oil on canvas. His best-known Until quite recently, I did not know the fundamental works form The Rainbow Serpent, which tells the importance of collocating myself within the world. founding Lardil story of a vengeful creator spirit with Indigenous Rights But now that I do, as a white Western person I vivid and indelible images. First published in 1975, Indigenous Rights believe that the issue is not about being part of the the book remains an important first encounter with ‘whiteness’ but about being unaware of it, which Indigenous Australian culture for many thousands means to be blind’. I consider this book to be a real of children and families. milestone for the urgency of breaking free from the Eurocentric standard filling our lives.

‘For the decolonial thought, Modernity is an essentially or exclusively European phenomenon. ‘Two young men, the Bil-bil In these lectures, I will argue that modernity is, in or Rainbow Lorikeet brothers, fact, a European phenomenon but one constituted in a dialectical relation with a non-European alterity Came running in looking for that is its ultimate content. Modernity appears shelter, but no-one had room.’ when Europe affirms itself as the “center” of a World History that it inaugurates; the “periphery” that surrounds this center is consequently part of its self-definition.’

96 Racial Publishing Protest 97 Struggles Matters Forms ANNOTATED BY VIVIAN ZIHERL ANNOTATED BY VIVIAN ZIHERL

Red Skin, White Masks Sovereign Words: Indigenous Art, Curation and Criticism

Author VZ Ever been tempted to consider specific claims Glen Sean Coulthard of Indigenous rights in the light of either Marxist or Fanonian critique? In that case, this is the book Author VZ What are the commonalities across Indigenous Publisher for you. Indigenous (Yellowknives Dene) scholar Katya García Antón experience, political struggle and artistic practice University of Glen Coulthard closely examines the unfolding of trans-regionally? What sovereign Indigenous Minnesota Press sovereignty projects in Canada and particularly Publisher projects find ground across the national spaces surrounding the Dene nation. With a keen eye, OCA/Valiz known as ‘Taiwan’, ‘Australia’, ‘Finland’, ‘Bangladesh’, Year he teases through the knots encountered by First ‘Samoa’ or ‘Canada’, to name a few? The anthology 2014 Nations communities from the 1970s forward, as Year Sovereign Words makes a stride towards potentials settler legal and business frameworks wrestled 2018 of Indigenous dialogues across continents. with the fundamentally radical terms of Indigenous The sixteen contributions emerge from the Critical sovereignty. Through one arc of analysis in dialogue Writing Ensembles workshop supported by OCA with Marx, the fundamentally economic basis at the 2018 Dakar Art Summit. They vary between of Indigenous sovereignty is traced – refuting historical surveys, critical reflections and first-hand a narrowly ‘cultural’ basis of Indigenous rights. artistic practice. Santosh Kumar Das reflects upon Through a parallel arc of analysis in dialogue with the art history of Madhurbani art that developed a Marx, the indisputably social, psychological and popular market as early as the 1960s, whilst David aesthetic basis of Indigenous rights is also upheld Garneau’s essay ‘Can I Get a Witness’ expounds the as integral to a politics of ‘Resurgence’. problems of Indigenous art in the White gaze. Biung Ismahasan reflects on the spatial and haptic issues of curating Taiwanese contemporary art while Léuli Indigenous Rights Māzyār Luna’i Eshrāghi also reflects upon the limits Indigenous Rights of Eurocentric display and advances Tautuanaga‘o fa’āliga ata as a concept that better suits Samoan ‘I argue instead that instead of practice where health, healing, responsible ushering in an era of peaceful governance and illumination must be accounted coexistence grounded on the ideal for in the presentation of visual material. of reciprocity or mutual recognition, the politics of recognition in its contemporary liberal form promises to reproduce the very configurations of colonialist, racist, patriarchal ‘Indigenous is an emerging state power that Indigenous peoples’ category that extends and demands for recognition have historically sought to transcend.’ adapts First Peoples’ ways of knowing and being into the contemporary moment and into spaces beyond our home territories.’ New Archives New Archives

98 99 ANNOTATED BY VIVIAN ZIHERL ANNOTATED BY VIVIAN ZIHERL

Theft Is Property! The White Possessive: Dispossession and Critical Theory Property, Power and Indigenous Sovereignty

Decolonial Narratives Author VZ Robert Nichols’s Theft is Property does the work Decolonial Narratives Robert Nichols of explicating the confounding gaps, paradoxes and convenient impossibilities by which settler colonial Author VZ The White Possessive is a collection of essays Publisher violence does its day-to-day work. This book is Aileen that reads with the cohesive strength of the best Duke University Press not specific to artistic practice per se. However, its Moreton-Robinson of monographs. The cumulative weight of its political analysis is highly useful in comprehending texts inveigh against the fundamentally racist Year the institutional structures amid which contemporary Publisher formation of the European property form. With this 2020 art is often bound up – particularly so in European University of publication, Quandamooka scholar Aileen Moreton and White Anglophone contexts. The titular essay Minnesota Press Robinson is an unmissable reference when it comes ‘Theft Is Property!’ is an indispensable resource. to the critique of liberalism, colonial governance It places radical European 18th century critiques of Year and the double binds of European political theory. property alongside critiques made by Indigenous 2015 The book opens with a crisp summation of the authors, and breathtakingly demonstrates the arguments: ‘The problem with white people is that shortcomings of some of the most heralded they think and behave like they own everything’ European emancipatory efforts. (Dennis Benjamin Moreton, 2005). Its chapters Impacting Mediascapes address the legal conditions surrounding Captain Cook’s claims to Australia and evidence of the Indigenous economies of title that he transgressed, analysis of the white figurations of Indigenous Indigenous Rights culture in a major land-rights case, and an in-depth Indigenous Rights discussion of artist Vernon Ah Kee’s Venice Biennale ‘Namely, colonization entails the artwork cant chant. large-scale transfer of land that simultaneously recodes the object of exchange in question such that it appears retrospectively to be a form Legal Loopholing ‘The problem with white of theft in the ordinary sense. It is people is that they think thus not (only) about the transfer and behave like they own of property, but the transformation everything.’ into property.’

100 101 Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to Labour Fights this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements by Luke Ching, 2007–ongoing. Ching, Luke by Worker Undercover Courtesy of the artist. shortlisted project) Award Visible (2019 New Archives

102 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY SHELA SHEIKH ANNOTATED BY PELIN TAN Alternative Alternative Economies

Industria Publication June 2020 Re-Enchanting the World: Feminism and the Politics of the Commons

Author SS During the ‘unkind times’ of lockdown in the Industria UK earlier this year (which of course may return at any moment) when for many the nausea, strained Author PT In Re-Enchanting the World: Feminism and Publisher eyes and general alienating discombobulation Silvia Federici the Politics of the Commons, Federici discusses Self-published of life seemingly permanently on screen were the practice and concept of commons within by industria beginning to kick in with force, receiving a copy of Publisher diverse geographical contexts such as Africa this small, exquisitely handmade edition in the post PM Press and Latin America in order to highlight women’s Year was akin to, in the words of the editorial collective, movements. It brings to the fore the effort of 2020 ‘[being held] gently while at a distance’ (p. 3). With Year women’s solidarity movements from various cases the support of a grant through Black Dogs, the 2018 that debate and struggle for the commons. The book pamphlet, which features specially commissioned also includes discussions on reproductive work, texts by Carole Wright and Cecilia Wee, and a affective labour and the transformation of everyday Feminisms commissioned artwork for a wildflower seed packet life that influences the way of commoning and by Jade Monserrat, was self-published by industria, understanding the term commons better. This book ‘an artist-run network, seeking to re-politicise the is a collection of cases of feminist struggles and “art world” through working groups that scrutinise other essays in which Federici discusses feminist institutions and infrastructures in order to imagine approaches and their contribution to the commons. and build towards new social universes.’ The book may greatly contribute to the debate and The main text, penned by the industria collective, practice of socially engaged art practices that are addressed to ‘Dear friends, colleagues, comrades, operating in female spaces. co-conspirators’ and dated 25 May 2020, explicitly embodies the epistolatory form of transmission that is inherent in all forms of publishing but that is afforded greater speed and flexibility through DIY ‘Thanks to these studies and artistic contributions Labour Fights Labour Fights practices compared with the long lead-in time of we now recognize that primitive accumulation is traditional publishing house routes. not a one-time historical event confined to the → (to read the full note please visit the Visible origins of capitalism, as the point of departure project website) of “accumulation proper.” It is a phenomenon constitutive of capitalist relations at all times, eternally recurrent, This does not mean that primitive “part of the continuous process of accumulation can be “normalized” ‘[H]ow do we enact a pause or a already (intentionally) confuses the capitalist accumulation” and “always or that we should underplay the

break from “business as usual”, when boundary between labour and leisure contemporaneous with its expansion”. importance of those moments in Making Assemblies normality has been so fundamentally time, and our now always-online world history – the times of clearances, disrupted in ways beyond our control? with no transition between spaces wars, imperial drives “when great […] Institutions becoming more has muddied this even further. […] masses of men are suddenly and online could permanently open things Without real space, it is even harder forcibly torn from their means of up to those of us whose “normal” to draw boundaries between the subsistence and hurled onto the labor necessarily more closely resembles disparate elements of our multifaceted market as free, unprotected and life in lockdown. […] Our industry “portfolio” existences.’ right-less proletarians”.’

104 Racial Sustainable 105 Struggles Urbanisation Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Legal

Loopholing Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes

Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements Image by Remco van Bladel, Paul Kuipers and Jonas Staal. Kuipers Paul Courtesy Bladel, van Image by Remco of the artists and (Jonas Berlin. Staal shortlisted artist) Award was 2015 Visible Hebbel am Ufer, HAU by Jonas Staal and Jan Fermon, 2020–ongoing. Fermon, Jan Staal and Jonas by (study) Facebook Collectivize New Archives

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Forensic Architecture: Forensis: The Architecture Design as Investigation of Public Truth

Author BG I discovered the existence of Forensic Author JMA Sitting on a highly productive and critical Forensic Architecture Architecture while I was working in CAMP/Center Forensic Architecture juncture between expanded architecture, visual arts for Art on Migration Politics, Copenhagen. At the and social justice activism, Forensic Architecture Publisher time I was drafting my MA thesis in Visual Arts Publisher has redefined the practice of interdisciplinary Röhsska Museum which focused on CAMP itself and other realities Sternberg Press & research and its agency like few others before it. of Design and Craft linked to what we call ‘socially engaged art’. Forensic Architecture This volume excavates the origins of the term Environmental Issues Of all the things that I found in CAMP exhibition’ forensis (Latin for ‘pertaining to the forum’ and the Year catalogues, the work of Forensic Architecture Year root of the term forensics) through different case 2020 was one of the most impressive to me. Based 2014 studies and texts which investigate the violation of at Goldsmiths University London, the team is human rights, political struggles or environmental constituted by architects, software developers, violence in different geographies. The result is a journalists, artists, lawyers, filmmakers and novel and complex articulation of the notion of researchers who seek to supply counter forensic public truth as a ‘common project under continuous evidence to ongoing or concluded human rights construction’, and the consolidation of a new lexicon cases. Just before the Covid-19 pandemic, I was in that re-imagines the meaning of evidence, ruins, Impacting Mediascapes Gothenburg to meet an artist and a dear friend of remote sensing or jurisdiction. mine and we decided to visit the exhibition Forensic Architecture: Design as Investigation together. Housed in Röhsska Museum of Design and Craft, the exhibition showed three different projects, explained in detail by using 3D-modelling, audio ‘Material forms can thus only reflect analysis, data mining and software development. history in fragments and ruins, and Honestly, I have to say that it was one of the suggest uncertain, discontinuous, most engaging exhibitions I have ever visited. Strongly believing in the power of interdisciplinarity, and lacunar interpretations. I propose Forensic Architecture as a challenging But although we can never know the Legal Loopholing Legal Loopholing and inspiring example to follow. past as a conclusive, transparent fact mechanically etched into materiality, ‘At a time of geopolitical we should avoid the temptation of an tensions, institutionalized anti-universalist perspective which violence, and digital regards truth simply as inherently surveillance, in what ways relative, contingent, multiple, can contemporary design or nonexistent, and instead view support cases involving truth as a common project under human rights violations?’ continuous construction.’

108 Pedagogical Social 109 Platforms Design Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Making Assemblies Courtesy of the artists. Assemblies Migrant Movements (2015 Visible Award shortlisted project) Award (2015 Visible Mujawara/The Tree Campus in Camps School by Tree Mujawara/The 2014–2015. and Contrafilé, New Archives

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Art in Context: Learning from the Common Space: Field – Conversation with and between The City as Commons art and cultural practitioners

Author PT The notion of the commons/commoning Stavros Stavrides has become a very vital point of discussion in Authors LPY This book is structured around a set activism, social sciences and socially engaged Herman Bashiron of conversations between arts and cultural Publisher art practices. As socially engaged art practices in Mendolicchio, practitioners and was inspired by peer-to-peer Zed Books urban spaces might be useful in contributing to Susanne Bosch discussions, exchanges and encounters in the field. commoning practices and debating commons in Supported by the Goethe Institute, this publication Year collective spaces, many methodologies arise from Publisher introduces twenty-one artistic statements from 2016 art. Therefore, this book is useful to read with Goethe-Institute practitioners in the field of participatory art in regard to the art practice of commons. My long- Myanmar, Japan, Malaysia, Thailand, Indonesia, time colleague Stavros argues that commoning Year the Philippines, Singapore, Hong Kong and China. practices are relational and open-ended; and 2017 In contrast to art in a white cube setting, the negotiation is a vital part. Furthermore, as he significance of the works of these artists stems follows his experiences of commoning practices from the distinctive context within which they are in the urban struggle of Greece and in Latin embedded, and their site-specific, collaborative and America, he contributes to the debate by bringing participatory engagement with the contemporary concrete cases to the fore and writing through his environment. Given the relative paucity of research experienced practice of commoning. on public art in Southeast Asia and the significant role of artists and artist-run initiatives in redefining public space in the region, this publication offers new pathways and possibilities for further research in the field. ‘Collective memory can become Labour Fights an important target as well as a means of commoning. The most ‘How much do colonial and war relations between obvious aspect of this relation is the our countries of origin play out in our current power that collective memory has relationships as peers? And to make it more complex, what about identities that come from bi-national to give form and content to events Making Assemblies backgrounds – the combinations of the accidental in the past which the members of Making Assemblies and oriental worlds, or experiences in multi-national a community recognize as their realities through relationships or residences? What about the mishmash of philosophical, religious, common past.’ cultural and political approaches? How about inclusion and exclusion through language – in our case, English, as a common denominator? How are we united and/or separated through our identifiers?’

112 Sustainable Protest 113 Urbanisation Forms ANNOTATED BY MATTEO LUCCHETTI ANNOTATED BY JOANNA WARSZA

Dewey for Artists Empty Stages, Crowded Flats: Performativity as Curatorial Strategy

Author ML Mary Jane Jacob is an international key figure Mary Jane Jacob in the socially engaged art scene, and with this book she analyses the figure of John Dewey and the Authors JW During its impressive career over the last Publisher influence of his work on thinking about art as a way Florian Malzacher, decades the term ‘performative’ has developed The University of to influence society. By discussing the practices of Joanna Warsza many parallel, sometimes opposing meanings in Chicago Press artists such as Tania Bruguera, Trampoline House, the humanities, philosophy, anthropology, arts and Jon Rubin and Dawn Weleski, to name a few, she is Publisher economics, leading up to a ‘performative turn’. Year able to retrace the seeds that Dewey disseminated Alexander Verlag Berlin When we propose to apply this notion in the context Environmental Issues 2018 in his work. The man that, by the 1960s, famously of curating, we follow Austin’s and Judith Butler’s affirmed that ‘art is not the thing but the experience’ Year belief in the performative capacity to implement is praised for his ability to see in the artistic 2017 and transform reality with words and actions – practices the possibility to enact progressive as ‘reality-making’ – but we also emphasise the democratic values through the participation of colloquial notion of the performative as ‘theatre-like’. citizens and the idea that democracy is alive only Considering those two strands as interdependent when daily creative acts breathe new life into it. agents we investigate an array of situations from choreographed exhibitions, immaterial museums, theatres of negotiation and discursive marathons, to subversive public art projects and inquire how ‘The art of democracy – for it is a ‘Art is a way we practice democracy. curating itself has become staged, dramatised or creative way of life we make and keep Democracy can be practiced as an art. choreographed to produce new forms of publicness. making – is driven by what we care Thus, art and democracy were a lot One of the case studies from the book is Le Théâtre about. Social institutions had to alike to Dewey. Both are embodied, des Négociations – a political, diplomatic, scientific, continue to extend rights and keep lived practices. Both are creative pedagogical and artistic experiment that took place freedom alive. And while citizens grew processes. Both have an aesthetic in May 2015 at Nanterre-Amandiers. Le Théâtre des in individual agency, they needed to dimension and, therefore, in Négociations was conceived by SPEAP (Programme remain responsible to democratic our experience of them lies the d’expérimentation en art politique de Sciences values and create a caring culture. potential for our transformation. Po) and Bruno Latour, the make-it-work-team at Democracy is not “based upon the The philosopher also believed that art SciencePo, and implemented by Philippe Quesne traditional ideas which make the has the ability to help us develop into and raumlaborberlin. Two hundred students from individual and the state ready-made better citizens, because art catalyzes all over the world took part in a simulation of the entities in themselves,” but rather change, helping us as well as society international conference of parties on climate change, democracy “is but a name for the to grow and remain vital. Thus, the the COP21, in front of an audience for five days. Making Assemblies fact that human nature is developed appreciation of art has a moral and Making Assemblies only when its elements take part in political dimension.’ directing things which are common, things for the sake of which men ‘A drama is going on. and women form groups – families,

Migrant Movements There is not a better place industrial companies, governments, churches, scientific associations than a theater to tackle it.’ and so on.”’

114 Pedagogical Social 115 Platforms Design ANNOTATED BY ANDREA PHILLIPS ANNOTATED BY JOANNA WARSZA Alternative Alternative Economies

Engineers of the Imagination: Future Publics (The Rest Can Community- based The Welfare State Handbook and Should Be Done by the People): A Critical Reader in Contemporary Art Authors AP I first experienced the work of the theatre Tony Coult, collective Welfare State International whilst at Baz Kershaw school in the 1980s; their work became a blueprint for lots of the work we made on the undergraduate Authors JW Future Publics is a reader nourished by how the Publisher Theatre Studies course at Dartington College Maria Hlavajova, Occupy movements influenced the world. It speaks Methuen of Arts, Devon. The company was a loose band Ranjit Hoskote about the re-energised modes of assemblies, the of hippy ideologues with a deep commitment to collective organization, constructions of social value Environmental Issues Year rural intergenerational celebration and protest; as Publisher and cultural meaning, the strategising of solidarities 1983 Tony Coult says in the introduction to this book, Valiz/BAK across class, region, ethnicity and ideological ‘[t]his long-term research-and-practice seeks to affiliation. Ariella Azoulay, Bassam el Baroni and re-establish, away from the conventional building- Year David Graeber, among others, unpack concepts such based middlebrow/middle-class theatre, the popular 2015 as rebel citizenry, orgnets, cultural users, stateless traditions of the working class, such a Carnival, the states and devolutionary platforms, expanding on Feast of Fools, the fairground, the mummers’ plays, the future publics and counter-publics. that vein of subversion as entertainment that runs through so much folk theatre and song.’ (p.1) Writing before the 1999 re-publication of The Welfare State Handbook, Baz Kershaw adds:

‘To cultural theorist Edward ‘Now, in 1990, we must open up the of self-contradictions and vicious Said’s formulation of “imperialism argument by noting that the central circles. In the company’s policy paradoxes of Welfare State’s best statements they are usually signalled was the theory, colonialism work crystallise all that is positively by the yoking together of unlikely the practice” should be added dangerous in the company’s creative bedfellows: pathological optimists, “sovereign differential citizenship” practice, in that they suggest an civic magicians, holy fools, engineers impossible mission caught in a web of the imagination.’ as historiography and vantage point when dealing with any political category related to a form of Some of these qualities are still reflected in the contemporary practices of those artists’ groups ruling that divides the governed Making Assemblies supported through the Visible project. However, population into groups and rules Making Assemblies what is most inspirational about this publication, them differentially.’ rather than its historical analysis, is the fact that it is a handbook: it gives away patterns and formulas for making large-scale sculptures, moving buildings, costume designs, etc. This act of radical sharing is, in my view, missing from most contemporary practice.

116 Performing Protest Rural Social Performing 117 Communities Forms Politics Design Communities ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA Scan the QR code to access the Visible Projects’ archive Alternative Economies Migrant section related to this topic The Nightmare of Participation

Movements Community- based (Crossbench Practice as a Mode of Criticality) Decolonial Narratives

Author JMA For all of us involved with collective practices Markus Miessen in pedagogical and cultural settings, the critique of the use and abuse of the term ‘participation’ Publisher came as a much-needed caution at a moment Environmental Issues Sternberg Press of institutional community-philia and co-option Courtesy of the artist. fuelled by ‘turns’. Miessen undoes the uncritical Year mode of consensus and inclusivity underlying this 2011 candid and romantic form of participation that has Feminisms been generalised in the larger cultural and public sphere. Instead, he argues for a responsibility-based conflictual participation of ‘crossbench practitioners’ (2010 Visible Award shortlisted project) Award (2010 Visible who enter a field of practice uncalled and uninvited: (Studio REV-) Jahn Morán Marisa by CareForce Alliance Workers Domestic with the National 2011–ongoing. (NDWA), as unruly vectors shaking the self-indulgence of Impacting Mediascapes many collaborative disciplines. Indigenous Rights Labour Fights

‘Sometimes, all-inclusive democracy has to be avoided at all costs.’ Legal Loopholing Making Assemblies Making Assemblies Migrant Movements New Archives

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Coolie Woman: from the mountains to the valleys, The Odyssey of Indenture from the deserts to the seas: journeys of historical uncertainty –

Decolonial Narratives Author MT Coolie Woman is a personal journey for Gaiutra A solo exhibition by Tiffany Chung Gaiutra Bahadur Bahadur, and an important one if we are to discuss histories of slavery and indentured labour. The book Publisher is the author’s quest to find out details of her great- University of grandmother’s story – a woman who was sent to Author BG from the mountains to the valleys, from Chicago Press work on the plantations in Africa, when slavery was CAMP/Center for Art the deserts to the seas: journeys of historical abolished. The book is about the stories that come on Migration Politics uncertainty – A solo exhibition by Tiffany Chung Year from what is recorded but also what’s missing. was the second exhibition hosted by CAMP/ 2013 Publisher Centre for Art on Migration Politics, at the end CAMP/Center for Art of 2015. Co-curated by Chung, a well-known on Migration Politics Vietnamese-American multimedia artist, the show presented a series of works exploring different Year aspects of the politics of displacement and flight. 2015 From the catalogue: ‘With a glass installation of mass migrating animals, a lightbox installation about the destructive powers of war, and a new ‘It is hard, in these glimpses, to escape the angle series of cartographic drawings mapping areas of of sexual exploitation by figures of all ranks and conflict and disaster, internally displaced persons, races. In these archives of misconduct, the women and migration routes, Chung unpacks the many Indigenous Rights appear resisting advances. Or, giving in to them. causes and effects of displacement and helps us Or – in the eyes of many ship officials – courting understand the current refugee crisis’ (p 4). It can them. But the records also provide other views of be said that Chung’s practice revolves around Labour Fights the women: on the deathbeds, giving birth, losing the act of remapping. In this respect, she states: children, going mad, being driven to suicide, ‘The impossibility of accurately creating definite engaged in infanticide, rejecting or being rejected borders or cartographic representations of most by shipboard husbands, demanding that husbands places remains a crucial objective in my remapping prove themselves, stowing away, crying, cursing, of countries that were traumatised by war, human possibly in love and clearly in anguish. Admittedly, destruction, or natural disaster. My maps examine the reports present psyches aboard ship at their how the geographic boundaries of many countries most awry, since they typically only mentioned a and cities are continuously being changes, shifted migrant when something had gone wrong.’ and erased’ (p. 6).

‘What will the future hold for people fleeing war, poverty, or natural disasters? One of the emerging Migrant Movements Migrant Movements trends is the fact that borders are back. This will restrain people in need and create new social and political spaces of suffering and marginalization.’ New Archives

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The Migrant’s Time: The Silent University: Rethinking Art History and Diaspora Towards a Transversal Pedagogy Community- based

Author BG I consider this book to be part of my starting Authors PT This is the first book on the practice of the Saloni Mathur point with regard to socially engaged art. Although Florian Malzacher, Silent University, which is a fictive pedagogical it dates back ten years and is consequently far from Pelin Tan, platform initiated by artist Ahmet Öğüt in 2013. Publisher ‘moving with the times’, I think it constitutes one of Ahmet Öğüt The book consists of several chapters by invited Clark Art Institute the building blocks of my guideline. From the intro: authors, reports by the Silent University branch of for Clark Studies in Publisher their continuation as well as failures. The book aims the Visual Arts ‘In the last few years, not only has the theme of Sternberg Press to bring discussion of how pedagogy as an artistic migration increasingly emerged as a dominant methodology could provide debates on public Year subject matter of art, but the varied mobilities of our Year space, commons, co-existence and racism under 2011 contemporary world have radically reshaped art’s 2016 the global migration crisis. Furthermore, the book conditions of production, reception and display. discusses methods of socially engaged art and its In the fourteen essays composing the volume, the role in creating modalities of co-existence in society. notion of migration resonates with a variety of The authors also attempt to write a manifesto of other categories and concepts that float around transversal pedagogy as an artistic provocation discussions of culture that are international in spirit: beyond borders and institutions. diaspora, exile, globalization, hybridity, migration, mobility, multiculturalism, transnationalism, the nomad. The book seeks to critically explore the increasing universality of the conditions of global migration and interdependence, and examine the relationships of art practice, art history and art criticism to this normative reality, past and present. How have experiences of migration and mobility ‘… the term collaboration can become an ambiguous found expression in the artistic and critical practices one due to conflict in the relationship with a hosting of the visual arts, and how do we grasp the new institution. Whenever an SU platform (such as a cultural assemblage generated by the conditions of conference, meeting, research room, open course relentless human mobility in the present?’ session) needs to be set up within a host institution, the whole negotiation process not only questions the role of SU but that of the host institution itself in terms of the guest/host relationship, the

institution’s identity, the ethics of diverse audience Making Assemblies ‘The word in language is half someone appropriation, the word does not exist participation, legal contracts, and institutional else’s. It becomes one’s own only when in a neutral or impersonal language, policy. In this process, the host institution needs the speaker populates it with his own but rather it exists in other people’s to re-examine its own institutional nature and to intention, his own accent, when he mouths, in other people’s contexts, decide whether it wants to be a part of the social Migrant Movements Migrant Movements appropriates the word, adapting it serving other people’s intentions: it affect as a transforming instituting practice or to his own semantic and expressive is from there that one must take the to continue to remain a neoliberal bureaucratic intention. Prior to this moment of word and make it one’s own.’ instrument of culture.’

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Traces of Trauma: Cambodian We shout and shout, but no one listens: Visual Culture and National Art from conflict zones Identity in the Aftermath of Genocide Author BG Taking as my starting point the catalogue of the

Decolonial Narratives CAMP/Center for Art exhibition We shout and shout, but no one listens: Art on Migration Politics from conflict zones, I want to pay tribute to CAMP/ Author NKP The ‘traces of trauma’ in the book title Centre for Art on Migration Politics, which just closed Boreth Ly signify the different ways in which Cambodian Publisher after five years of stunning activity. I will directly artists and cultural producers have created traces, CAMP/Center for Art quote from its official website: ‘CAMP was a non- Publisher i.e. through art and visual culture – which include on Migration Politics profit exhibition space for art discussing questions University of contemporary art, film, poetry, pop music and court of displacement, migration, immigration and asylum. Hawaii Press dance – after the traumatic events of the civil war, Year The centre was operative from 2015 to 2020 and the US bombing and the Khmer Rouge genocide. 2017 was located in Trampoline House, an independent Year In contrast to the use of art by the Khmer Rouge community centre in Copenhagen that provides 2019 regime as a propagandistic and surveilling tool, refugees, asylum seekers and ethnic minority Danes artists reclaim art as a way to understand and in Denmark with a place of support, community mediate trauma, memory, morality, resistance and purpose. CAMP produced exhibitions, events, and recuperation. Boreth Ly attempts to consider publications and education programs about migration ‘epistemological ways of understanding trauma, and the questions these phenomena gives rise to today.’ visuality and body’ through works of Cambodian and Being part of this environment gave me the possibility Cambodian diasporic artists and thinkers – from the to meet and work with people from all over the world, films of Rithy Panh and the photography of Vandy and with artists and curators who proved to be inspiring Rattana, to the poetry of Saith Peou and the writings practitioners and human beings. The point of departure of Khmer psychiatrist Chhim Sotheara. of We shout and shout, but no one listens: Art from conflict zones was a number of ongoing and recent conflicts (at the time of the exhibition, in 2017) ignored by the international community, and it presented installations, photography, painting, readymades, ‘In the case of Cambodia, arts collages and performance works examining war from and visual culture cannot the perspective of those trapped in or fleeing from zones of conflict. Among the external contributions provide complete redemption or to the catalogue, we find a piece from the American psychological closure after genocide, philosopher and gender theorist Judith Butler, who but they can certainly help to open coined the word ‘grievability’:

up a forum for an extremely difficult ‘We might think of war as dividing We can see the division of the globe dialogue about issues of trauma, populations into those who are into grievable and ungrievable lives betrayal, conflict, reconciliation, grievable and those we are not. from the perspective of those who An ungrievable life is one that cannot wage war in order to defend the lives Migrant Movements Migrant Movements forgiveness, and aporia.’ be mourned because it has never lived, of certain communities, and to defend that is, it has never counted as a them against the lives of others, even if life at all. it means taking those latter lives.’

124 Performing Queer Racial Protest Communities Cultures Struggles Forms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Courtesy of New Archives Making Assemblies Migrant Movements Ritu Sarin by WhiteArchive Films Resistance Crane 1991–ongoing. Sonam, Tenzing and the artists. (2015 Visible Award longlistedthe artists. project) Award (2015 Visible New Archives

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AIDS Anarchive Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992-98: Author JMA This research undertaken by the collective Exhibition Histories Vol. 9 Equipo re Equipo re looks at the AIDS crisis not just as a medical epidemic, but as a radical visual, affective Publisher and economic paradigm shift that went hand in San Sebastian: hand with the consolidation of the neoliberal regime Author LPY As part of the Exhibition Histories series Tabakalera and and the process of globalisation. Through exhibition, David Teh published by Afterall, this book presents a critical Donostia / San events and this publication it compiles and activates examination of the landmark alternative public art Sebastian European by means of a rich archive of cultural production in Publisher and culture festival Chiang Mai Social Installation Capital of Culture relation to HIV originated outside of the hegemonic Afterall Books (1992–98). Initiated by artists, the projects or geo-political sphere (USA and Central Europe). works in this series of festivals were mostly Year From a natural–cultural perspective the project Year performance-based, site-specific and attuned to 2017 explores the mediascape of fear (of contact and 2018 the socio-political contexts of its time. The term contagion), the cultural dimension of death or the ‘social installation’ not only provides a framework discourse on health and the sick body that were for understanding the diverse artistic articulations solidly articulated during those years and which are of political dissent in the 1990s in Chiang Mai, it violently re-erupting today. also offers an expanded notion of art and its publics. It is timely to revisit such experimental festivals in order to reflect on the ways in which the ecologies of art may exist outside the ambit of the market and consumer culture.

‘Disease reveals the disjunction between an autonomous body and the mind as a place from which you relate your body ‘Self-organizing platforms like CMSI (Chiang Mai Social Installation) may not have laid explicit claim with the social sphere and to premodern or pre-national models; and perhaps yourself, where the, let’s their initiators did not ultimately escape the call it, internal body causes professional and discursive orbit of the nation. But they did manage to communicate local itself to disfunction, altering experience to a much larger world, finding palpable its processes without sympathies and even solidarities, artist to artist, acknowledging them.’ outside the order of national representation. They were thus able to articulate and renew a fundamental promise of contemporary art, even if they could not fulfill it – that despite the unkept promises of the modern, art might still be a vehicle of progressive social and aesthetic transformation.’ New Archives New Archives

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Beyond Entropy Angola Curating as Anti-Racist Practice Community- based

13th International RMC There is a social component in the métier Authors JW In the lunch break of Nora Sternfeld’s Architecture exhibition of the architect that makes a big difference when Natalie Bayer, curatorial seminar at Aalto University in Helsinki, we

Decolonial Narratives Venice Biennale thinking about how to design a space in a way that Belinda came to one possible blunt definition of a curator as respects the sense of community embedded in our Kazeem-Kamiński, somebody who is an activist and a policeman at the Year cultures. Beyond Entropy has become an important Nora Sternfeld same time (there are of course many more curatorial 2012 project and container when thinking about the types in the vastness of the profession). We were roles of the curator and the artist in reimagining Publisher both, however, interested in a curatorial profile our spaces of living and encounters. The city of Aalto ARTS Books that sees art as part of a larger picture of socially Luanda being the main protagonist, one of our main engaged causes and uses the power, the tools and interests is to understand how through different Year the privileges of the profession to institute some of artistic endeavours a cohort of architects, artists and 2018 them. Nora Sternfeld is one such curator who aims curators have succeeded in bringing artistic practice to disrupt discrimination and related conditions of to the core of designing the city. injustice, creating cracks in the heteronormative, classic and sometimes racist status quo embodied in the world and in ourselves. Curating as Anti- Racist Practice is a handy structural toolbox for how to practice the profession in a non-hegemonic, decolonial and transversal way.

‘No building can contain a universal ‘For curating to be anti-racist, however, it multiplicity of spaces, possibilities, first needs to consider both subjectivity and process of subjectivation, and needs to ensure and objects. When a building tends multiperspectivity. It is crucial to explore and towards the encyclopaedic, it question all narratives and exhibits of an exhibition becomes a city. Just the city includes along different line of inquiry. Whose history is being told? Whose perspective is been privileged? multiple conditions in the coherence What kind of images of form – even though it is an urban, are presented? Who How are the texts created? Do the narratives and conflict-ridden form.’ reads these images and images empower groups that have hitherto been

Making Assemblies how? How have the either underrepresented or represented in a way exhibits been generated? that objectifies them? While these are essentially the very same questions that have – for a long time already – been guiding the discussions about “history from below” as well as feminist and postcolonial historiography, it seems that they keep being actively forgotten.’ New Archives New Archives

130 Protest Social Performing 131 Forms Design Communities ANNOTATED BY RAW MATERIAL COMPANY ANNOTATED BY JOANNA WARSZA

L’école des mutants #2 : Public Sphere by Performance Community- based Ruines et Futurs

Authors JW How is ideology moving our collective body? Bojana Cvejić, What is the performance of the public sphere? Authors RMC One part of a wider project that also includes Ana Vujanović How to think critically about the term ‘public’ as a Stéphane exhibitions and community assemblies, Ruines et potential participative democratic audience and how Verlet-Bottéro, Futurs brings together reflections and testimonies Publisher to act politically with our bodies? This book is a well Hamedine Kane around the site of the abandoned Université du b_books informed journey through political theory, performance Futur Africain in the Diamniadio region of Senegal. studies, social choreography, the public sphere and Year Situated just outside of the capital, Diamniadio and Year its discontents in the neoliberal society with a special Environmental Issues 2019 its neighbouring communes are today positioned 2012 focus on the Yugoslavian legacy, a region that the as the ground upon which an African city of the authors stem from. It also comes with a film by a third future will arise – the Dubai of Africa – despite member of the collective Walking Theory. The film the soil being irrigation land suited to agriculture, deals with the question of how ideology performed historically the green lung of the nearby city. itself in public space through mass performances. The texts and images are an intersection at which The author collected and analysed film and video histories and futures of space, education, self- footage from the period of Yugoslavia (1945–2000), determination and earth meet. focusing on state performances (youth work actions, May Day parades, celebrations of the Youth Day, etc.) as well as counter-demonstrations (’68, student and civic demonstrations in the ’90s, 5th October revolution, etc.). Going back through the images, the film traces how communist ideology was gradually exhausted through the changing relations between the people, ideology and the state.

‘Pour indemniser un fruitier, on évalue ‘What was the role of the public? And how does this correspond to Did it effectuate changes? Moreover, what we got in return, supporting simplement la quantité de even if it has had political and social or opposing the one or the other fruits produits par l’année. effects, we are inclined to repeat political actor on the public scene? C’est la fin du monde, ça.’ John Dewey’s question: was this Some of these questions are answered public aware of the consequences through the cases we study and visually of its actions? Did the citizen who document in this book. Our goal is not Making Assemblies euphorically hailed Milosevic in to resolve political dilemmas related to Making Assemblies Gazimestan in 1989 want civil wars? the murky circumstances of Yugoslav Did the citizens of Belgrade and Serbia history, but to offer conceptual on October 5, 2000, know, when they analyses as well as tools to those who thought they were choosing democracy, feel similarly unqualified or politically that they were also asking for disabled and stultified, tools they may capitalism? What did we ask for when implement to critically envisage civil we, as a public, arose in protest? action in their own respective contexts.’ New Archives New Archives

132 Protest Rural Sustainable 133 Forms Politics Urbanisation ANNOTATED BY MIGUEL A. LÓPEZ ANNOTATED BY VIVIAN ZIHERL

Saturday Night Thriller Wild Australia: Meston’s Wild y otros escritos, 1998–2013 Australia Show 1892–1893

Author ML This book collects the writings by late drag Giuseppe Campuzano queen and philosopher Giuseppe Campuzano (Lima, Authors VZ This slender volume deftly pinpoints the precise 1969–2013) who created the ephemeral project Michael Aird, historical nexus of raw colonial expropriation and the Publisher Museo Travesti del Perú [Transvestite Museum Mandana Mapar, aesthetics of ethnographic display in Queensland, Estruendomudo of Peru]. Founded in 2004, the museum was an Paul Memmott Australia. Co-edited by Indigenous historians Michael attempt at a queer counter-reading and promiscuous Aird, Paul Memmott and Mandana Mapar, Wild Year intersectional thinking of history, one that collected Publisher Australia brings together the surviving images of the 2013 objects, images, texts, documents and appropriate University of eponymous ethnographic show that toured the east artworks in order to propose actions, stagings and Queensland coast in 1892/93. In an unsurprising historical twist, publications that would fracture the heterosexual Anthropology Museum the self-taught ethnographer Archibald Meston, who spatio-temporality and the dominant models of produced the show, also became the self-appointed production of bodies. The book presents a wide array Year state ‘Protector’ of Aboriginal People during the of Campuzano’s writings, including fictions, essays 2015 infamous period of ‘The Act’. In 1897, shortly on transgender human rights, collages, pamphlets, following the show, the ‘Protection of Aborigines and texts around the Transvestite Museum and three Restriction of the Sale of Opium Act’ was introduced interviews with the author. as a regulatory suite that created an extreme and punitive reserves system throughout Queensland. The portraits and staged postcard dioramas capture ‘El Museo Travesti no pretende se aborda al travesti real, desde el the piercing strength and self-possession among determinar qu. es travesti y que no para ejercicio del trabajo sexual hasta el the show’s Indigenous men and women, such as Indigenous Rights plasmar una identidad inamovible, ritual de las fiestas patronales. Yungkwa and Amirrtha – young men whose names sino trasladar el/la travesti desde la La colonia, la religión o la academia Aird and co-editor Paul Memmot decipher from the periferia hasta el núcleo de la discusión son instituciones y conceptos photograph’s notes but whose familial and country para as., desde su circunstancia, hacer que también se replantean, en la ties remain unknown. visible su tradición histórica y repensar medida en que se revisa el papel que la historia peruana. Ello sólo es posible históricamente han jugado en la en la medida en que el discurso ya no reproducción o transformación de se hace “desde afuera”, sino desde la las identidades y de las sexualidades, propia experiencia, “desde dentro”. y en el surgimiento y valoración de ‘I have been fortunate to be able También se muestra que el intento por otras alternativas. Por ejemplo, se to locate over one hundred and categorizar a todos los seres humanos plantea que las personas travestis han como hombres o mujeres plantea logrado superar la marginación de twenty different photographs of problemas no sólo para travestis sino la institución católica participando the Wild Australia performers. también para otras personas. activamente de la religiosidad popular, These images form an important El Museo también se propone espacio social que resulta relevante replantear conceptos, incluidos el para reconceptualizar la religión y la fe historical document.’ de “museo” y el de “travesti”. como rasgos de la identidad peruana y La figura del travesti deja de ser un tab. herramienta de empoderamiento para o una imagen estereotipada porque sus comunidades.’ New Archives

134 Performing Protest Queer 135 Communities Forms Cultures ANNOTATED BY RAW MATERIAL COMPANY Museum as Alternative Economies Word?Word!Word? a Public Space of Care * Community- based Issa Samb Community- based and the Undecipherable Form Gabi Ngcobo Decolonial Narratives Decolonial Narratives

Author RMC The figure of eminent artist Issa Samb and Koyo Kouoh his practice through the Laboratoire Agit’Art are enough to understand the complexities of public Publisher and private spaces in Senegal. Through the work Environmental Issues Office for Contemporary done in his courtyard at 17 rue Jules Ferry in Dakar, Art Norway & Samb staged different situations that would allow Sternberg Press the viewer (we can’t talk about visitors as his private courtyard was considered a public space, a space Feminisms Year for the community, a space for the allies) to navigate In the recent years, South Africa has witnessed the rise of private 2013 between different objects which work as hints to get ‘museums’, which include the Zeitz MoCCA and the Norval Art a sense of the narratives that are told, performed or Foundation, both in Cape Town, as well as the Javett Art revived. Being sensitive to the notion of time is very Center – UP, located on the grounds of the University of Pretoria important in understanding the profundity of the (UP) as well as The Joburg Contemporary Art Foundation (JCAF) Impacting Mediascapes work done by Samb and the Laboratoire Agit’art. and more are rumoured to open, sooner or later. This signals a new wave of institutions, all with founding collections that have been developed over decades. It is also a sign that philanthropists, who have previously supported state museums, are now funding their own initiatives, which places institutions Indigenous Rights in further distress as government support for state museums is limited and stretched. Labour Fights The Johannesburg Art Gallery (JAG) is one such museum among ‘Entering Issa Samb’s courtyard many others in cities across the country. Founded in 1910 and in the spring of 2010 was a strange opened to the public in 1915, JAG’s history, architecture and location reflect the dreams of empire in the ways that it mimics Legal Loopholing journey, one on which we had to the spatial dynamics of most historical European museums. keep reminding ourselves not to Looking at postcards from its earliest period one can discern hold our breath; our pace, which was how the ideals that shaped European cultural foundations were Making Assemblies Making Assemblies imported and implanted in the colonies. For the founders and only interrupted by the crunch of patrons of such institutions, liberation from colonial domination leaves beneath cautious soles, like a was as undesirable as it was unthinkable as an event. prayer murmured while counting a

visionary rosary before each Station 137 Migrant Movements of the Cross, forever seeping from ramshackle partitions and walls.’ New Archives New Archives

136 Performing Protest Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Communities Forms Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms 136 New Making Decolonial Community- Archives Assemblies Narratives based Communities Performing 138 of people to the‘homelands’. to of people thedeportation would to ofthisdocument lead The absence employers were proofofemployment, as theorder oftheday. bywhite thatwere signed thedocuments be to passes, demanded inwhich police Routine inspections the cities. under form bylaw, some they not, ofemployment, could in be movement ofAfricans Unless ablack person was incities. the control andpolice legislationthatwas meantto passed state government thecolonial blackinactive bodies, andtheapartheid otherwise ‘out Inorder discourage ofplace’ inthecities. to was ablack body population, ofthesmallwhite the comfort Tolerated far inso aperson wasrendering as service towards of,speak criminalization. its to led for often anidleblack body there parks, these were nobenches reserved for to black people for onabench demarcated black Inmany behind nannies. of sits onabench marked whilstthenannychild sits ‘Europeans Only’ child.familiar The awhite ofa black after scene nanny looking a documents byPeterMagubane taken photograph an iconic werepublic amenities marked For ‘Europeans Only’. example, well many regime, benches as park during theapartheid we as haveAfrica, inmany seen archival taken photographs InSouth ofblack bodies. whatwas notpermitted about signage boreinstructive often andother parks publicparts kind. These allowed ordidn’t feel ofany welcome, such museums inside as where places into theyliving were incities previously not Independence ushered inthefreer movement ofblack people recently were largely administered personnel. bywhite guarded withthesameprinciplesoftheirfoundingvery and,until werewith Ghanain1957, manifesting, cultural these sites started Africa.in colonial Asdifferent wavesbeginning ofindependence, (such theatres) as built andothermuseum cultural institutions The park’s thegallery proximity to isreflective ofalmost every Park,strolling around Joubert thearea where JAG islocated. intheirVictorian seen garments be can people white time, around produced this andimages futures. postcards Inthese intheway ofourown ofthere-imagining depravation thatstood dislodge themselves from thegenerational economic ensured thatfor Africans generations come to would struggleto This unthinkability/undesirability inlegislation that wasenacted Forms Protest

Urbanisation Sustainable migrants. centre fora detention undocumented theinfamousarrested and sentto Centre, Lindela Repatriation immigrants where are roundedcity undocumented up, refreshing Thegallery rooms. inthe isoneofmany locations change as or whereheadquarters toilets its they use often Police Services (SAPS) have unofficially made JAG their sculptural works.Ironically, theJohannesburg South African bylarge-scale occupied thecourtyard being popular the most thegallery, inside withartworks pose theirclients to entice for street photographers site whooften apopular become has Africa. Over theyears JAG, notcharge which does anentry fee, immigrants of from andundocumented othercitizens parts performances, gardeners, urban well many as unemployed tricks, street vendors,magic impromptu Maskandi music bystreet photographers, preachers, performingoccupied people inarchivalsee ‘heydays’. of its images Thearea isnow Today’s Park Joubert isstrikingly different from theone we weekend-long festival. perform, oroverwhelmed bored bythefunfair around the festivalgoers whowereto band either for waiting aspecific were Themattresses to. by always needed occupied rest also ifthey butto thetent inside happening activities notonly engagewithotherarea to encouraging people in fabrics atthefabric bought market were around placed the ita‘Knownamed GoZone’. Twenty covered mattresses single We signs. these to andonthegrass upatent area set and adirectOur intervention response duringthefestival became over placed thegrassby signs areas reading ‘NOIDLING’. annually atthegrounds oftheKampala Theatre, Iwasstruck in anevent corresponding withtheBayimba Festival Music held acuratorialworkshop conduct to thatwould culminate Uganda, Similarly,independent state. in2014 when IwasinKampala, byasupposedly that conveniently butnow enacted linger’ oneofthe‘colonialChristopher thisas Cozier recognized laws control thespread oftheCovid-19 pandemic.Trinidadian artist to up whatitreferred law’inattempts loitering ‘the as to In March 2020 theTrinidad andTobago PoliceService ramped very aresult,still is,as ofcontestation. contexts much asite The publicdomaininaSouthAfrican andother post-colonial Design Social Politics Rural Struggles Racial

Cultures Queer Matters Publishing Forms Protest

Communities Performing

139

Platforms Pedagogical

New Migrant Making Legal Labour Indigenous Impacting Feminisms Environmental Decolonial Community- Alternative Archives Movements Assemblies Loopholing Fights Rights Mediascapes Issues Narratives based Economies 136 New Making Decolonial Community- Archives Assemblies Narratives based Communities Performing 140 to Khosa’sto highlighthere. in to died Khosa deathare important enforce thegovernment’s Covid-19 regulations. Events leading others atthehands of thearmy deployed to andthepolice Petrus Amos, Miggels,Adane Sibusiso Emmanuel and Khosa, Other events include thedeath ofblack such citizens Collins as nowhere ‘lock to themselves down’. thestate’s whohavewould expose those assist to inability enforce to order –enforced it be isnot–andcannot because formsome For thelegal ofhelpfrom beings, these motorists. where perform hopingforlights, theirnon-being’, they go‘to attraffic thatstand ofthedown-and-out number increased and provide isevidenced byan for thehomelesspopulation African society. Thegovernment’s shelter to failed attempt thatare inequalities the fabric ofSouth thestark magnified This reading isnecessary inorder highlighthow have these to violent enforcing ofgovernment lockdown regulations. onthe through reading reports ofpublicoutrage andmedia addressed answered be yet cannot be best where orcan Isit, thepublicdomaintoday, ofwhatconstitutes The question from engage withJAG. from publicsthatstill theart resistance gaze ofthe‘educated’ protest or publicsandinspire noaction, thevoyeuristic to programming are butthese subjected often embrace and/or to attempted realities withinits these critique ofJohannesburg. ofthecity JAGdepartments over has theyears essentially, JAG both andtheJohannesburg SAPS are as, counteract groundsto inits place isonethatdifficult thattakes state foreign bythepost-apartheid nationals’ bodies ofAfrican administering meaning.Thecontinuous convoluted ona ofcare thustakes apublicspace as The museum andrelated programs.casual engagements exhibitions withits beyondtheserious or offunctions onavariety takes space views around publicdisplays ofaffection. Here themuseum holdconservative still inhabitants whose overpopulated city onewhereas they have can kindofprivacy some inanotherwise thegalleriesout inside ofJAG, they thesite as have recognized therefore young making encounter couples to notuncommon JAG numbers inducing, are low. thevisitor often anxiety is It whofindthehustleandbustlearound andlocals tourists both for of‘terror’ asite which become has location, ofits Because Forms Protest Urbanisation Sustainable 1 the children are aneighbour. sent to children she cold, until isdone,ifitraining outside ortoo send the ofthem Inorder shetwo teenagers. bath, to has to small windowless shack, which she shares withthree children, newschannel her inside wasinterviewed byalocal settlement, informal asimilar denselywoman populated living inDiepsloot, one ofthem. Duringtheearly days lockdown, ofthenational a on each other’s privacy being humanneeds, for basic support depend communities these private.Often, never completely be can humanactivities and many basic similarones,allthese sleep bath, andraise theirchildren.cook, Inthisenvironment Everything issemi-public; how people notexist. does disease meansfor ensuringthe basic thecontrol ofthespread ofany https://artreview.com/october-2014-feature-art-in-context-i-gabi-ngcobo/ onAlexanderfocused andSandton. series bySabelo Mlangeni onaphotographic Imade a2015contribution See different. ofaffluent areas those like to compared isstarkly Sandton What ispublicandwhatprivate inanarea such Alexandra as intheprivacy was doing. consumed ofourown Khosa homes,as which many uponalcohol, weof theban, ofusstocked people’s theannouncement after privateresidencies. Indeed, didnotprohibit in thedrinkingofalcohol his fridge. Thestate was found with ahalf-drunk inhisyard in beer andonebeer Khosa products. the saleandpurchase andtobacco ofalcohol Among other Covid-19 on issued aban regulations, thestate neartheupper-class suburbJohannesburg ofSandton. located Alexandra Township area of mostly poor isadensely populated, atcontrolling thespread aimed ofCovid-19.during restrictions for howthe SouthAfrican they behave–even constitution of thestandards against heldresponsible wingswillbe security forces, awinthatensuressecurity thatthegovernment andits for orders application neighbours won ahighcourt against family theKhosa andtheir petitions, issuing oftwo andsigning forheld responsible Khosa’s death.After much lobbyingand (SANDF) ofinquiry board found members thatits notbe could bytheSouthAfrican DefenceAn investigation National Force theyardinside ofhisown homeinAlexandra Township. for ‘violating lockdown assaulted April 2020 being rules’ after Design Social 1 For living ininformal millionsofpeople settlements Politics Rural Struggles Racial Cultures Queer Matters Publishing Forms Protest Communities Performing 141 Platforms Pedagogical

New Migrant Making Legal Labour Indigenous Impacting Feminisms Environmental Decolonial Community- Alternative Archives Movements Assemblies Loopholing Fights Rights Mediascapes Issues Narratives based Economies 136 New Making Decolonial Community- Archives Assemblies Narratives based Communities Performing 142 challenge, if not impossible, to imagine how many art how imagine many art to challenge, ifnotimpossible, a inareas like becomes It these. waslocated interaction drivers rely and onremaining more shut, human activity traders from prohibited oftheservices andmost taxi operating workers. ofessential With street food in thetransportation from 5 amand10am,again 8pm,inorder assist 4pmto to were between only operate lockdown, allowed to mini-bus taxis Duringlevel five ofthe national bythegovernment. banned was above, mentioned sale,as whose andalcohol, tobacco likethe usual daily exchanges, now including substances through ofthearea nearourbuildingduringwhich we observed random conduct drive my andIto colleagues This necessitated years, owners atroubling issue been for inthecity. property over has, drug the andsex trade (which gotogether) often NGO. ofourspace attempt Thehijacking ofbuildingsfor the hijacking 2018,In September there wasapolice-interrupted non-beings. thenature ofthewomen’sbecause tradequalifies themas sanitisers ormasks were delivered bygovernment agencies ofthewomen parcels, the safety No working food thestreets. activity, even starker. became were ensure No to attempts made criminalised drivers. ofsex workers, Theprecarity taxi astate for hubs sexworkerscitywide mainclientele are whose mini-bus wasdeclared. ofdisaster Thearea isoneofthe state national ‘business been usual’ the ithas as since Organised islocated, In thearea NGO–Nothing where Gets space ourcollective thousands. of arrests well the as army the and as police the of citizens hands of atthe deaths the to leading arein conflict, over years ignored the has it conditions the and state the of logic the that proved that images violent produced areas policing on in these reports Media inside. than rather outside be to requires people health mental and safety areas, In these onlythe communal spaces. including the lounge, with the kitchen and bathroom being bathroom and kitchen including the with lounge, the room, families one pay individuals occupy and and each who likely by different shared aremost be to apartments example, is frozen In Yeoville in time. human activity Hillbrow, or for outdoor where places be there can nor never been has there including within city, the those these, as such In urban areas Forms Protest

Urbanisation Sustainable * Matteo Lucchetti intheform Lucchetti ofatext. Matteo answer from to thequestions decided JudithWielanderGabi Ngcobo and ever before. thatare dialogues more urgent now than cross-continental from vacuum lacking aconceptual inreflectivity, and solidarity inspiring: regionalisms thatwillforce engaging into usback resist whatthepandemic isseemingly to isimportant It thatthinkalike. spaces withinternational collaboration andin always alongside has inconversation been withthelocal Our work another imagine world andready fight to to for it’. the next –wewalk can through lightly, ready luggage with little oneworld, and agateway between ‘a as characterised portal, Roy whatArundhati be rehearsed, may indeed be thistime that donotimply structure, tangibility, orform context can where ofself-organising –those processes entanglements, reflect on anduneasy to shifting aspace as functions have leftbare. For been NGO,institutions aplatform that butinconversation outside withformal thatoperate spaces art Independent orself-organised any government assistance. afew announced monthago, ofgetting ThulasNxese of Labour that we ‘fall thecurrent outside legislation’, Minister as Independent practitioners like face mehave the reality to had How many willsurvive, how many willhave shut to down? under anextremelyactivities andeven more strained economy. under lock-down still resume ableto institutions willbe Design Social Politics Rural Struggles Racial Cultures Queer Matters Publishing Forms Protest Communities Performing 143 Platforms Pedagogical

New Migrant Making Legal Labour Indigenous Impacting Feminisms Environmental Decolonial Community- Alternative Archives Movements Assemblies Loopholing Fights Rights Mediascapes Issues Narratives based Economies Alternative Alternative Economies Community- based Community- based Decolonial Narratives Decolonial Narratives Environmental Issues Feminisms

Pedagogical Impacting Mediascapes

Platforms Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Making Assemblies

Scan the QR code Migrant Movements to access the Visible Projects’ archive section related to

2012–ongoing. Ahmet Öğüt, by University Silent Courtesy of the artist. recipient) Award Visible (2013 this topic New Archives New Archives

136 Performing Protest Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Communities Forms Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY LU PEI-YI ANNOTATED BY MIGUEL A. LÓPEZ

我們從未參與: Agítese antes de usar: 第八屆深圳雕塑雙年展 Desplazamientos sociales, artísticos The 8th Schenzhen Sculpture Biennale: y educativos en América Latina We Have Never Participated

Authors ML This book is a co-edition of Museo de Arte Renata Cervetto, Latinoamericano de Buenos Aires – MALBA, Author LPY This publication is the exhibition catalogue Miguel A. Lopez Argentina, and TEOR/éTica, Costa Rica. Marko Daniel of the 8th Schenzhen Sculpture Biennale: It brings together reflections, art experiences and We Have Never Participated, that took place at OCAT Publisher pedagogical and curatorial projects that have Publisher Shenzhen in 2014. This exhibition coined the term TEOR/éTica emerged in the last two decades in Latin America. 廣州:嶺南美 ‘post-participation’ in the wake of the increased and MALBA From critical mediation strategies to self-organised 術出版社 salience and focus on notions of process and and collaborative learning practices, the texts participation as key to understanding contemporary Year collected here explore the social function of Year art in the West. However, as suggested by the title of 2016 education and its possibilities to redefine the public 2018 the Biennale, the artistic context in China is defined scope of art as well as to activate renewed forms of by the absence of historical traditions of participatory political activism. art. The significance of this catalogue lies not only in its documentation of the works featured in the exhibition but also in its inclusion of key essays by international scholars, such as Boris Groys and Shannon Jackson; essays by Zheng Bo and Su Wei that introduced recent artistic development in China; ‘Desde los años 90, en América Latina han and LU Pei–Yi’s essay entitled ‘We are Participating: surgido una serie de reflexiones e iniciativas Taiwan Context’, which directly addressed the que han actualizado las preguntas sobre las Sunflower Student Movement that took place in posibilidades que tiene la educación de cuestionar Taiwan in the Spring 2014. las complejas relaciones de poder en el campo del arte. Ese proceso ha transformación de los sistemas de implicado una reconsideración de producción laboral y los efectos de la dimensión política de la práctica la globalización. Bajo este contexto, educativa frente a nuevos marcos lo educativo empezó a ser visto ‘The term post-participation has culturales presentes desde aquella nuevamente como una oportunidad thus been coined to draw attention década, como la implementación de para ingresar autorreflexivamente a not so much to the disappearance of reformas económicas neoliberales, la las estructuras del arte, no solo como participatory practice but to the fact velocidad de los cambios tecnológicos una manera de impugnar el sistema that it is widely accepted as a y los medios de comunicación, la establecido de jerarquías en la given, and has become part of the producción de conocimiento dentro toolset of contemporary art.’ de las instituciones culturales, sino también como una forma de movilizar experiencias de cambio social a mayor escala.’

146 Pedagogical Performing Protest Performing Pedagogical 147 Platforms Communities Forms Communities Platforms ANNOTATED BY GABI NGCOBO ANNOTATED BY MIGUEL A. LÓPEZ

Àsìkò: On the Future of Artistic Playgrounds: and Curatorial Pedagogies in Africa Reinventing the Square

Authors GN Àsìkò is the result of an itinerant annual Authors ML Playgrounds: Reinventing the Square Bisi Silva, pedagogical programme for artists and curators Lars Bang Larsen, accompanied the eponymous exhibition presented Stephanie Baptist initiated by the late curator Bisi Silva, promoting Rodrigo Pérez de Arce at Reina Sofia Museum in 2014. It collects various the movement of artistic and curatorial knowledge essays and artworks around the political aspects Publisher on the African continent. The first two programmes Publisher of play and its possibilities to reinvent democracy, Centre for took place in Lagos, Nigeria, in 2010 and 2012 Museo Nacional Centro economy, public space, labour, citizenship and Contemporary Art, and from 2013 moved to Accra/Kumasi, Dakar, de Arte Reina Sofía utopia. The curators and authors reclaim the figure Lagos Maputo, ending in Addis Ababa in 2016. The book of the homo ludens, the transgressive dimension documents how its participants and faculty spent Year of carnival, communal goods and free time in Year five weeks in each city, as well as their interventions 2014 opposition to the time of consumption, and a 2017 into pedagogical models that are based on different model of organising society against labour research-on-the-move and how these methods systems based on exploitation and capitalist logics. created interactive social spaces. Visiting, critically discussing and responding to postcolonial public monuments in each city as one of the ways of thinking through what it means to be ‘postcolonial’ is impressively articulated in the book by some of the Àsìkò participants. ‘During carnival (undoubtedly one of the cultural elements in which play takes on its most transgressive form), the roles and moral values that underpin a community are radically subverted in a cathartic ritual that paradoxically ensures the continuation of the status quo. The disruptive potential of play as ‘As a consequence of such a powerful set of a dress rehearsal for life is neutralized by means of dislocations, the eleven artists and three curators a planned ritual scenario that stages (and nothing created a final project that summarised the radical more) the transvaluation of all values. Nonetheless, spirit of Àsìkò. This group exhibition, entitled as an already institutionalized, irreverent expression “28 days in Maputo”, addressed the city’s multiple of the people, carnival textures in experimental mediums and was already harbors – and, as Mikhail Bakhtin argued, has harbored since presented in one of the historical buildings that its ancient and multiple origins – a transgressive mark Mozambique’s troubled colonial past: the unconscious that goes beyond the comical and “Fortaleza de Maputo”, a fortress where our lives as farcical, and slips into the sphere of the political creative individuals became forever entangled in a through the interstices of play and festivity. radical, deep learning experiment called Àsìkò.’ The “carnivalization” of some contemporary art and of social uprisings simply confirms play and the spaces of play as catalysts for the wishes of majorities whose voices had been smothered, and of minorities silenced by nature.’

148 Pedagogical Protest Performing Pedagogical 149 Platforms Forms Communities Platforms ANNOTATED BY MIGUEL A. LÓPEZ ANNOTATED BY NARAWAN KYO PATHOMVAT

Talking to Action: A Third University Is Possible Community- based Art, Pedagogy and Activism in the Americas Author NKP A Third University is Possible offers a la paperson refreshing theoretical framework and interpretation

of the issues of university education, decolonisation Decolonial Narratives Publisher and activism. The writer, la paperson (K. Wayne Authors ML Talking to Action accompanied the eponymous University of Yang), proposes that a university ‘is an assemblage Bill Kelley Jr., exhibition curated by Kelley and Zamora in the Minnesota Press of machines and not a monolithic institution’ that Rebecca Zamora context of the Pacific Standard Time: Los Angeles / has colonial history and purposes, yet it can also Latin America project in 2017. It collects critical Year be subverted to produce decolonising subjects. Publisher essays and documentation of socially engaged 2017 Taking inspiration from Third Cinema and Black University of practices and collaborative community-based art filmmaking assemblages, worlding theory and Chicago Press practices developed across the Americas. The editors Deleuzian posthumanism, the book explores highlighted practices not included in the traditional decolonial ‘possibilities’ in various indigenous and Year gallery and museum narratives, which were often black schools and colleges in the US, Kenya and 2017 creating interdisciplinary dialogues, working in India and presents the seminal idea of ‘scyborg’ public space and creating intersections of art, which is a ‘decolonising agent of technological activism, grassroots organisations and social science. subversion’ operating within the Third University itself in order to break down the ideological machine. Indigenous Rights ‘From its inception, Talking to Action: Art, Pedagogy, and Activism in the Americas was meant to focus on dialogically-driven, community-based art making ‘… school is an assemblage across the Americas. Given the quick growth and academicization of the field that we call social of machines and not a practice in the United States over the last decade, monolithic institution, I was determined to say something about the its machinery is always intellectual and methodological roots of these practices that were not simply anchored in northern- being subverted toward transatlantic thinking. Thus, Talking to Action decolonizing purposes.’ was a research project that was born of a need to

redirect the legacies of the past. Given this alternate Making Assemblies mapping, it only made sense to begin with the idea that we’re attempting to learn something and that this learning should take the form of a dialogue.’

150 Pedagogical Protest Queer Pedagogical 151 Platforms Forms Cultures Platforms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights

Labour Fights Venice Biennale) Venice th Legal Loopholing

Performing Making Assemblies Courtesy of the artist. parade curated by the Visible (Public Communities Migrant Movements 2012–ongoing. by Marinella Senatore, Marinella by Parade) Dance (Venice Narrative The School of The Night Art made the Future Visible – Visible the made Future Art of The Night within the framework project The Creative Time Summit: at the 56 The Curriculum New Archives

152 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY JOANNA WARSZA ANNOTATED BY RAW MATERIAL COMPANY

Afrotopia Chale Wote Festival (Accra, Ghana) Community- based

Author JW Afrotopia is a visionary, affirmative, transversal Felwine Sarr read that re-energises the public sphere situated on

the African continent. Year RMC Walking in the streets of JamesTown in Decolonial Narratives Publisher 2018 Accra gives a particular feeling. A feeling of walking University of into a book, into a space where something happened Minnesota Press before, a space where we can feel past vibrations. The walls are covered by fading paintings telling Year ‘When I was writing “Afrotopia” my aim was for it different narratives which are today superimposed 2019 to develop a kind of reflection that unfolds across by new paintings, writings, adverts etc. Jamestown the disciplines of economics, politics, and realms is turned into a space for encounters, intervention of the social and the psychological, one that is and dialogue. The Chale Wote festival constitutes interdisciplinary and transversal. But at the same one of the most important festivals on the African time I wanted to write in a language that is not continent that strives to revive memory and past esoteric, but accessible to everyone. (…) I wanted to history through performance arts. The body is rehabilitate the notion of utopia: The term “utopia” put in relation with the city and its community in comes from “ou-topos” and designates a place that interesting ways. is not in existence, one could also say: that is not there yet. But just because something does not exist yet does not mean that it can’t exist sometime in the future. If you are not satisfied with our present, then you can begin to create a utopia, and then start to transform it into reality in the course of history. My basic idea is that the future is open. That she ‘While the main pedestrian route remains open to all of us. And that it is the task of of Chale Wote turns into a vibrant Africans to think and formulate their own future and to find their own metaphors for it. But in no case, street party for two days, there are however: to inscribe this future in a teleology that numerous detours that open up is already given, for example, the modern age, the the history of Jamestown. Walking prevailing development paradigms or anything alike. So far, Africa has always been the object of discourse becomes the evocative mechanism by others. Now it’s about to dream this utopia in for shedding light on this history Africa itself, to design Africa ourselves, to think, and for igniting public space.’ and to act for ourselves.’ New Archives

154 Performing Social Protest Performing 155 Communities Design Forms Communities ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA ANNOTATED BY RAW MATERIAL COMPANY

Elements of Vogue: Museum of A Case Study in Radical Performance Contemporary African Art

Authors JMA Elements of Vogue – both the exhibition Author RMC Museum of Contemporary African Art is Decolonial Narratives Sabel Gavaldòn, and this accompanying publication – approaches Meschac Gaba the catalogue of the eponymous exhibition that Manuel Segade voguing as a case study of radical performance: that was presented at Tate Modern in 2013 by artist is as a political choreography in which blackness, Publisher Meschac Gaba. We could also have started this note Publisher queerness and cultural gestures are put to dance Tate Publishing by saying that it was an artwork in itself, since the CA2M Centro de Arte together, undoing normative identities and inventing artist deployed a museum infrastructure at the very Dos de Mayo, Madrid novel ways of living together, one pose at a time. Year heart of Tate’s museum display. In fact, not being Taking LGTBQI+ practices of reading and shading 2013 able to project himself within these walls, he made Year as the articulating forces, this reader-cum-shader sure that the space adapted to his needs rather than 2020 enacts a cross-reading of seminal texts and artworks, settling for denying his own reality. This echoes the punctuated by a myriad of quotes authored by feeling of evolving inside a culture that is not one’s anyone from Cornel West to Whitney Houston. own, while still wishing to find one’s place within Altogether, it aims to trace a possible and always it. It also echoes the fact that art history, in many unstable genealogy of the black queer social and respects, makes invisible the bodies that could be political body, and its aesthetic-social potential; described as ‘unsanctioned’. Museums as places literally throwing shade on any authoritative of display often echo this negation. However, and interpretation. since Meschac Gaba has shone in one of the places of conceptual legitimation which defines what we commonly call ‘contemporary art’, the door is today truly open to us.

‘By historically dense queer gesture, I mean a Gaba on the Museum of Contemporary gesture whose significance African Art: ‘I needed a space for and connotative queer my work, because this did not exist.’

force is dense with ‘My museum has no walls.’ Making Assemblies antinormative meanings.’ It is ‘not a model… it’s only a question.’

156 Performing Queer Racial Performing 157 Communities Cultures Struggles Communities ANNOTATED BY MEENAKSHI THIRUKODE ANNOTATED BY JOANNA WARSZA

Performance and the Political: Performative Democracy Power and Pleasure in Contemporary Kerala Author JW From the author: Elżbieta Matynia Decolonial Narratives Publisher ‘My questions were: What does it take for societal Author MT This book is focused on the political landscape Routledge hope to emerge and be sustained? What are the Ameet Parameswaran of Kerala – including its turn to neo-liberalism. necessary conditions for the enacting of democracy Via performance practices that are located in the Year by citizens in hopeless circumstances – that is, under Publisher region, Parameswaran weaves a narrative around 2009 and despite autocratic regimes, but also in the old, Orient BlackSwan popular politics and its connections to cultural well-consolidated democracies that began to reveal traditions. He uses specific affects so to speak – their illiberal temptations? What I call performative Year vision, voice, gesture, machinic and animal as democracy is exactly this kind of phenomenon that 2017 anchors, and looks to theatre, mimicry, satire, constitutes the early stages of a democratic project oral performances and cinema to draw a really or that supplies strategies to keep a well-established rich set of arguments around what encompasses democracy vibrant.’ the performative outside of Western notions of performance practice. While the Warsaw court debated a possible legalisation of the Solidarność trade union in the 1980s, A.R. members climbed onto the roof opposite the courthouse and unrolled a long banner ‘The present study undertakes a five distinct modes of presentation – mirroring the inscription on the court building. selective exploration of what (Jon) vision, voice, gesture, machinic and The group delivered a message back to the judiciary Mckenzie would call the paradigm of the animal – I analyse a series of body underlining that the street can also have its “cultural performance”, whereby he mainstream cultural performances say – an artistic action inspired and turned into a marks how performance became an in Kerala across different genres, street protest. object of study with the formation of like theatre, poetry recitals, Performance Studies as a discipline… kathaprasangam (a popular form While engaging with the globality of of storytelling that emerged in the performance regime, here I depart 1920s in Kerala) and mimics parade. from McKenzie’s general theory of I highlight how performance is at performance which categorically marks the heart of the workings of the new the substitution of the disciplinary modality of power, and following

regime by the performance regime. different strategies, how these cultural Making Assemblies Instead I open up the category of performances foreground what it is to cultural performance as one that has perform, and therefore what it is to live an ontology which is conceptualised in the contemporary. This book posits in the region, thereby foregrounding performance as a critical site of enquiry how performance offers a distinct to unravel the sensory and affective lens to understand the political in contours in the transformation of the the contemporary. Organised under region into a neoliberal regime.’

158 Pedagogical Performing Rural Social Performing 159 Platforms Communities Politics Design Communities ANNOTATED BY GABI NGCOBO ANNOTATED BY RAW MATERIAL COMPANY

Public Intimacy: Art and Other Redefining Publics, Artists, and Urban Ordinary Acts in South Africa Spaces: The Case of Made in Musina, South Africa, in: City & Society,

Authors GN Although Public Intimacy is a publication vol. 30, no. 1 – Special Issue: Decolonial Narratives Betti-Sue Hertz, that accompanied the eponymous exhibition, it has Frank Smigiel, an impressively long shelf life beyond the event. Urban Public Art: Geographies Dominic Willsdon It features a range of texts and images that highlight the intensity of public encounters in contemporary of Co-Production Publisher South Africa and how artists and other cultural SFMOMA Publishing producers respond to this. The book taps into a larger field of responses to everyday life. Year Re-reading some of the texts from this publication Author RMC The Made in Musina project was a proposal 2014 makes evident most of the reasons why government Pauline Guinard by the South African artists Thenjiwe Niki Nkosi regulations on ‘social distancing’ to prevent the and Rangoato Hlasane for the programme entitled spread of Covid-19 are near impossible to follow in Publisher Reasons to Live in a Small Town initiated by the a country with, as the curators observe, ‘quite Anthrosource Network for Visual Arts in South Africa. The goal of dramatic and frightening contrasts between rich, the project was to create links between the artists mostly poor and an evolving middle class.’ Year themselves and the local population of Musina. 2018 The project was also a means of facilitating social cohesion between the different groups living in the town. Because of the plurality of identities of which it is composed Musina has indeed often been the scene of conflicts between the black and white populations of South Africa as well as the Zimbabwean community, which was formed ‘Public Intimacy proposes a broad array of mainly after mass immigration following the manifestations and functions of intimacy as an crisis experienced by Zimbabwe during the 2008 artistic theme in South Africa. It places intimacies elections. This article enables us to grasp not only on the human body, on the built environment, the socio-political and economic implications of and within visual culture as forms of circulation arts programmes developed in the public space in of meaning and values. In the exhibition, intimacy South Africa but also the difficulties that the actors becomes both an instrument of resistance and a encounter in putting them into practice. coping mechanism in and after an era of extensive political and social repression.’

‘In a context that is as racially, socially, and spatially divided as that of Musina and its region, the mere attempt made by Nkosi and Hlasane to gather the different artists living in the area, even for a meeting, was a challenge.’

160 Performing Racial Performing 161 Communities Struggles Communities ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA ANNOTATED BY JOANNA WARSZA

Singularities: Social Works: Dance in the Age of Performance Performing Art, Supporting Publics

Author JMA In this publication, Lepecki examines André Lepecki dance and performance at a time of rampant neoliberalism and the financialisation governing Author JW Ever since the artist Mierle Laderman Ukeles Publisher our lives. Examining how the movement of bodies Shannon Jackson established a non-salaried position at the Sanitation Routledge is instrumental in this regime, he coins two terms: Department of the City of New York in late 1970s, ‘choreo-policing’ (the policing of the circulation of Publisher the question of how art, life, social practice and Year bodies in the public sphere, and the imposition of Routledge labour are interconnected and how they can be 2016 somatic forms of control and obedience) and reciprocal and interdependent has perhaps become ‘choreo-politics’ (the kinetics of the political, Year one of the most important subjects of our era. understood as a choreography of freedom). 2011 Using examples of performance, visual art, activism From there he delves into a series of critical and public art – from Ukeles, through Rimini singularities (those traits that prove impossible to Protokoll, to Paul Chan’s staging of plays in New capture or objectify) of dance and performance; Orleans after hurricane Katrina – Social Works deals a set of vectors and conditions which allow us to with social art practices relating to welfare, urban unleash the political urgency and potential of planning and globalisation, as well as their relation these practices. to class, gender, race and labour.

‘Dance’s most significant singularity is its capacity for gathering and articulating the set of defining ‘An awareness of the problems in neoliberal production of interdependency can yield subjectivity as it produces counter- moves and counter-discourses. both innovative aesthetic Because the singularity that forms and an innovative transforms spaces of circulation into social form.’ spaces of freedom and of moving political potentialities has a specific name: the dancer.’ New Archives

162 Performing Social Performing 163 Communities Design Communities Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to Protest Forms this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements 2007–ongoing. Riot, Pussy by 2021, Zassal, Putin Courtesy longlisted of the artists. project) Award Visible (2019 New Archives

164 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY GABI NGCOBO ANNOTATED BY MEENAKSHI THIRUKODE

Acts of Transgression: Annihilation of Caste Contemporary Live Art in South Africa Author MT An Ambedkarite politics is essential to Bhimrao Ramji imagining what India should be, given that the Ambedkar country is pretty much a fascist state at the moment. During the resistance movement that Authors GN Acts of Transgression is a collection of fifteen Publisher was instigated by police violence on students of Catherine Boulle, critical essays and visual records that though Verso Books Jamia Millia University, we saw the very core of Jay Pather connected to the annual ICA Live Art Festival that the Anti-CAA movement, as it’s called, rooted in takes place in Cape Town, does not function in Year the preservation of our constitutional rights – the Publisher any way as its catalogue. Through selected artists’ 2016 constitution was drafted by Ambedkar. Political Wits University Press projects from this and other platforms, the authors activists like Bhim Army chief Chandrashekhar probe the notion of ‘live arts’ in the rapidly shifting Azad, have been famously photographed during the Year landscape of contemporary South African society. movement holding the constitution in their hands. Feminisms 2017 The works of twenty-five artists and collectives The public imagination and the occupation of space analysed in this publication reflect, in various ways, symbolically has never been seen before in a country the evolving language of performative protest. like India, which is still deeply casteist and classist. Labelled as the country’s twelfth official language, protest is approached in its nuanced forms, focusing Impacting Mediascapes on live acts performed in public spaces in Cape Town, Johannesburg, Makhanda and other places. Public activations of the queer archive are one among many issues addressed. Also of interest is

‘There is no doubt, in my opinion, Indigenous Rights how historical sites have been used as a backdrop that unless you change your social to pose questions about the present and about the future of their positioning. order you can achieve little by way of progress. You cannot mobilise the community either for defence or for offence. You cannot build ‘In South Africa, live art is born of extremity. Its anything on the foundations of syncretic form has evolved in response to rapidly caste. You cannot build up a nation, changing social climates, colonial imposition, cultural fragmentation and politics upheaval; its you cannot build up a morality. affective tenor of excess and irrationality embodies Anything that you will build on the the unpredictability of crisis. It proffers a new foundations of caste will crack, and language that resists the narratives of certainty and linearity through which a neocolonial agenda has will never be whole.’ been perpetuated (even if sometimes inadvertently) in this country, reflecting – without seeking to resolve – the inscrutability and urgency of states of socio-political flux.’

166 Protest Racial Protest 167 Forms Struggles Forms ANNOTATED BY NARAWAN KYO PATHOMVAT ANNOTATED BY NARAWAN KYO PATHOMVAT

Asia’s Unknown Uprisings, Asia’s Unknown Uprisings, Volume 1: South Korean Social Volume 2: People Power in the Movements in the 20th Century Philippines, Burma, Tibet, China,

Decolonial Narratives Taiwan, Bangladesh, Nepal, Thailand Decolonial Narratives Author NKP The two volumes of Asia’s Unknown Uprisings and Indonesia 1947–2009 George Katsiaficas provide comprehensive history and analysis of mass uprisings in ten Asian countries, focusing Publisher particularly on the second half of the twentieth PM Press century, and attempt to place them in a global Author ‘Directly democratic forms of narrative and context – from the uprisings of 1968 George Katsiaficas decision-making and militant Year to those in Eastern Europe in the late 1980s. 2012 In the current political climate of the region, where Publisher popular resistance are intimately mass protests have been a regular occurrence and PM Press woven together in these liberators solidarity among Asian protesters and activists has movements. The conscious been greatly developed (thanks to social media Year and other online tools), these books offer a relevant 2013 spontaneity and self-directed comparative background, sociopolitical theory and actions of hundreds of thousands – detailed examples of critical actions and struggles sometimes millions – of people, against social, political and economic oppressions that contemporary protesters, activists and scholars is nourished by communities of can further build on. struggle. People’s self-organization is confined within a grammar of autonomy, solidarity, and ‘One of the problems with a decommodification. Histories of nationalist construction of history struggles on various continents and is that it refutes in advance the idea in different countries may seem that human beings in various places juxtaposed across unbridgeable might actually be more closely tied divides, but they nonetheless hang to each other than they are to their together in these qualities and in the

Making Assemblies own “countrymen,” that ordinary connections forged by people as they Making Assemblies people’s aspirations and dreams, struggle for peace and justice.’ their conscious and unconscious desires and needs, might be more similar to each other’s than to those of their nations’ elites.’

168 Performing Protest Protest Performing 169 Communities Forms Forms Communities ANNOTATED BY JOANNA WARSZA ANNOTATED BY LU PEI-YI

Conflictual Aesthetics: 創意空間-東亞藝術與空間抗爭 Artistic Activism and the Public Sphere Creative Space – Art and Spatial Resistance in East Asia

Author JW Conflictual Aesthetics dwells on art practices Oliver Marchart connected to a political movement rather than art institutions. Oliver Marchart, a non-academic Author LPY The contributors in this publication are artists Publisher academic, employs political theory as opposed to art Yuk Hui and theorists from Taiwan, Hong Kong, Japan, Korea Sternberg Press theory to read contemporary art, public art and the etc., exploring the politics of space in East Asian public sphere. Using accessible language, he traces Publisher cities. The recent upsurge and intensification of Year the relations between art and activism, the political Roundtable the forces of neoliberal capital has given rise to the 2019 and the conflictual, and introduces the notions of Synergy Books increasing use of art and design as an instrument ‘biennales of resistance’, ‘counter-hegemonic curator’ of gentrification. This publication serves as a and ‘pre-enactment’. The latter is an inspiring Year document of their research findings, and suggests inversion of ‘re-enactment’. His favourite example of 2014 what roles art could play as both a critical social such a rehearsal of the political is an action by Public practice and site of resistance. Significantly it offers Movement, which created a temporary public sphere a detailed account of how artists are involved in acts in 2011 in Tel Aviv by dancing and obstructing the of spatial resistance by creatively remaking space circulation of traffic, ahead of Occupy Movement. and by establishing connections between various The book is a refreshing read, illuminating what is in forms of spatial politics across East Asia. fact public in public art.

‘A public sphere opens when the routines, 「在這場戰爭中,藝術的角色是怎樣?我們 可以在這些空間理論中學習到什麼? institutions and identities 藝術怎樣將我們導向關懷的系統,也即是如 of our social world are 何重新找到對這個世界的感知以及自 touched by antagonism, 身的感受?而同時藝術又怎樣做為一種反 抗和抗爭,甚至一種意識型態?」 which can be performed by peaceful dancing.’

170 Performing Protest Social Sustainable Protest 171 Communities Forms Design Urbanisation Forms ANNOTATED BY MATTEO LUCCHETTI ANNOTATED BY MIGUEL A. LÓPEZ

Fight-Specific Isola: Art, Architecture, Fray: Art and Textile Politics Community- based Activism and the Future of the City

Author ML Fray: Art and Textile Politics presents a brilliant Julia Bryan-Wilson account on the multiple intersections of textile and Authors ML This incredibly rich book bears witness to activism from a feminist perspective. Julia Bryan Various authors the decades-long fight of the Isola neighbourhood Publisher Wilson departs from her own biography and the in Milan against gentrification, across community University of memory of her feminist mother wearing a ‘Ladies’ Publisher art experiences and politically organised actions Chicago Press Sewing Circle and Terrorist Society’ t-shirt, to Archive Books under the collective name of Isola Art Centre. construct a genealogy of amateur and professional, The presence of artists in this experience helped Year feminist and queer creative practices that reclaim Year the daily laboratory that each time invented 2017 the political agency of fibre, textiles, knots, 2013 different formats and words to deal with and tapestries and quilts. describe the ongoing struggles against neo-liberal politics and their predatory consequences on the Feminisms neighbourhood’s real estate and social fabric. Words such as ‘dirty cube’ or ‘fight-specificity’ helped define the complexity of tactics and strategies that Bert Theis and many other collaborators enacted to bridge their artistic practices with the civic actions of hundreds of ‘Amateur textile craft in the main falls outside the citizens, continually reinventing novel discursive scope of contemporary art, which is increasingly systems through which to unfold a new imaginary comfortable with assessing the exceptionalism of of the neighbourhood and its futures. self-trained or “outsider artists” such as Judith Scott (evermore folded into the apparatus of auction houses and art magazines) but is less able ‘We originally coined the term fight- ‘The dirty cube concept is strictly to critically account for the tremendous amount specific art to describe forms of connected to the platform concept, of making generated art related to our urban fight. Our a form of open organization allowing by those termed, in In recent decades, textiles have provided a unique work focused on the Isola district artists, activists, curators, theorists, a telling phrase that challenge to these divisions as more self-trained has undoubtedly been site-specific. individuals, different persons and equates amateurism crafters are absorbed into the art market; the But the decision of siding with collectives to freely carry out their with non remunerative traveling exhibits and coffee table books featuring the movement and supporting the own proposals and projects in a fight- textile politics leisure the African American quilters of the rural Alabama alternatives suggested by citizens, of specific frame. The platform is not a time, “Sunday makers.” hamlet Gee’s Bend are a signature example. fighting against the neo-liberal policies collective having defined members: Yet such instances expose some of the fault lines of promoted by the political leaders collectives have joined the platform fine art/non-fine art dynamics, bringing to the fore and building speculation, made it either sporadically or over the long extraordinarily fraught questions about race, cultural necessary to extend the site-specific term. Neither is it an “artist-run- appropriation, valuation, and class disparity.’ concept to the new fight-specific one.’ space”. As a matter of fact, there is no director or curator who has the last word on the program or the projects to be carried out. Decision-making is horizontal and rhizomatic.’

172 Protest Sustainable Queer Protest 173 Forms Urbanisation Cultures Forms ANNOTATED BY LU PEI-YI ANNOTATED BY MATTEO LUCCHETTI

Global aCtIVISm: Art and Conflict Hope in the Dark: in the 21st Century Untold Histories, Wild Possibilities

Author LPY This publication was produced in conjunction Author ML This is the kind of book one is always going Peter Weibel with the Global aCtIVISm exhibition at the ZKM Rebecca Solnit back to, or at least whenever hope drains out, that took place from December 2013 to March 2014. and we see our political and cultural efforts not Publisher The title Global aCtIVISm takes the capitalised Publisher really having an impact in the greater logic of The MIT Press letters to form the Latin word civis to emphasise Haymarket Books things. Solnit writes from the perspective of her the power of citizens. Both the exhibition and activism, putting together a series of historical Year the accompanying publication documented Year case studies that oblige us to reassess our 2015 politically inspired art – global art practices that 2015 judgement on grassroots activism’s achievements. draw attention to grievances and demand the Spanning from the American civil rights movement transformation of existing conditions through serial to Occupy Wall Street, the book takes us on a actions, demonstrations and performances across journey through the rise of protest forms across a diverse range of public spaces. The publication the world in the last seventy years, and their ability is divided into five main themes: Activism and to invent new forms of representation, often also the Citizen, Public and Private Sphere, How to Do thanks to the contribution of artistic movements, Activism, Tactical, Social and Global Media and groups and individuals. What is easily dismissed ‘Artivism’ – Art and Activism. as inconsequential and of little importance here is highlighted as an alternative look at recent history, from the side of those who filled squares, streets and other demonstration spots, in order to imagine and demand a better world collectively.

‘… we are now seeing a new kind ‘The activists who deny their own of social action emerging, a power and possibility likewise choose “performative democracy” centered to shake off their sense of obligation: around the global citizen. The global if they are doomed to lose, they don’t citizen recognizes the existential have to do very much except situate threats to, and interests of, all of themselves as beautiful losers or at

humanity that are not contained least virtuous ones.’ Making Assemblies by national borders. This new type of citizen addresses both local problems as well as global ones. Global activism is then constituted on the basis of a “global citizenship”…’

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Kontrpubliczności ludowe Limitless: i feministyczne: Wczesna “Solidarność” Contemporary Art in Mexico City Community- based i Czarne Protesty

Authors ML Limitless: Contemporary Art in Mexico Edgar Hernández, City presents a rigorous revision of a decade of Author JW People’s and Feminist Counterpublics: Early Inbal Miller transformation in Mexico’s contemporary art scene, Ewa Majewska ‘Solidarność’ and the Feminist Black Protests offers a between 2000 and 2010. The editors collected passionate take on an early ‘Solidarność’ movement Publisher documentation that shows how a number of Publisher (1980–81) and the feminist Black Protests in Poland RM Publishing artists went beyond the museum and gallery to Książka i prasa (2016–18). Both of those social movements inspire occupy public spaces and amplify their forms of contemporary debates concerning the public Year communication. The book explores the role of Year sphere and the agency of counterpublics. Majewska 2013 participation, dialogue and collaboration in these 2018 notes that many lamentations about the crises ephemeral actions developed by around 135 artists of publicness still omit women and the working and collectives, which made an impact in the classes – groups and subjectivities fundamental to understanding and doing of politics in Mexican art. the revival of the theory and practice of the public sphere, the practice of contestation, resistance and social change. Majewska also introduces her Impacting Mediascapes concept of weak resistance, a socialist feminist response to the hegemonic, heroic and masculine visions of political agency. ‘Even when museum/gallery transgression ceased being a novelty in Mexican artists’ practice, we can consider it a tendency that reached a consolidation point in the 2000s; one that operated alongside a search on the part of contemporary artists that itself formed part of their dialogue and confrontation with ‘The non-hegemonic, weak agency is that which is public space. As an eyewitness to those practices, making history in the shadows and margins, excluded I always had the sensation that because they were from the classical political theory as practiced in not being documented in a schematized fashion – Europe. The agency of the oppressed, marginalized even as digital photography made documentation and excluded, was at the core ever easier – most of these works would end up lost of Walter Benjamin’s idea In my book I argue that such is the agency of and that only a few would manage to transcend their of “weak messianism”. the counterpublics, making the political and moment, as had happened with independent spaces the history in the context of productive and of the 1990s whose legacy of creations and actions reproductive labour, and thus undermining was perpetuated more at the level of anecdote than the public/private division. Additionally I also by any critical review thereof.’ expand the concepts of counterpublics, in the versions offered by Alexander Kluge and Oscar Negt (Proletarian counterpublics, 1988) and Nancy Fraser (feminist and subaltern counterpublics, 1991).’ New Archives

176 Performing Protest Social Protest 177 Communities Forms Design Forms ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA ANNOTATED BY LU PEI-YI

Losing the Human Form: 革命的做法:從 318 Community- based A Seismic Image of the 1980s 太陽花看公民 運動的創造性 in Latin America The Methodology of Revolution: Evaluating the Creativity of Author JMA Losing the Human Form surveys the period Citizen Movements from March 18 Southern spanning from 1973 (Pinochet’s coup) to 1994 Conceptualisms (Zapatista uprising) in different Latin American Sunflower Movement Network countries. It’s a period defined by the systematisation of violence and death (be it state-sanctioned in Publisher military dictatorships or from internal wars) and MNCARS - Museo by the collective radical experiences of subversion, Author LPY In this book, the Japanese artist and scholar Nacional Centro de resistance and expression that emerged in response. Chihiro Minato Chihiro Minato documents the visual and material Arte Reina Sofía In the face of the current neoliberalisation and acute culture of the Sunflower Student Movement in fascistisation of the public sphere, revising this Publisher Taiwan (2014). The first part, ‘The Voice of Our Year project becomes telling of how the 1970s and 1980s 台北:心靈工 Time’, introduces the student movement and 2012 constituted a laboratory for subjection forms that are 坊 - Psy Garden highlights its connections to other protests around nowadays normalised (dispossession, debtocracy, the world. The second part, ‘The Methodology of extractivism, being disposable, etc.). But on the Year Revolution’, is divided into twenty-one sections other hand, Losing the Human Form displays a vast 2015 with a spatial layout that highlights the various repertoire of artistic and cultural actions, open to forms of artistic creativity such as Black Box, appropriation and aimed to counter repression; Parliament, Sunflower, body, configuration and so a series of strategies and actions all defined by a on. The significance of this book lies in its efforts shared precarity and fierce radicality. to offer a conceptual framework for understanding the role of art in the Sunflower student movement and to assess the value of art’s contribution to this historically significant protest movement in Taiwan.

‘The hallmark of the political art of the 1980s is that it owes its existence to defeat. This all-too-rarely noted point is nevertheless central: it sets it apart from any artistic action or political image produced in the preceding decades, which aspired to play a 「太陽花運動在保護 (care) 民主主義的同 role in the process of revolution and 時,也為他者設想,兩者不可分離。… liberation.’ 每個人都動員自己擅長的事情、精通知識, 以及特殊的技能,只要是做得到的 事,就動手去做。這種人類的「多工(多重任 務處理)」現象,就誕生在『佔領』 這種特殊狀況之中。」

178 Protest Protest 179 Forms Forms ANNOTATED BY MEENAKSHI THIRUKODE ANNOTATED BY ANDREA PHILLIPS

No Protest without Fantasy Policing the Crisis: Mugging, Community- based the State and Law and Order Community- based

Authors MT No Protest without Fantasy is the second Jenifer Evans, in a small series of publications by Emotional Authors AP Clearly, primary and secondary education in the UK Nida Ghouse, Architecture, a project by Nida Ghouse and Malak Stuart Hall, continues to form the basis of the embedding of inequality. Malak Helmy Helmy initiated in Cairo in 2012. ‘No Fantasy Chas Critcher, Even though the appearance of the British state changed without Protest’ is the title of chapter four in Tony Jefferson, after the Second World War, most radically by the arrival Publisher The Haunting of Sylvia Plath by Jacqueline Rose. John Clarke, of many people from the former colonies, invited to work Metropole Cairo Brian Roberts after the destruction of land and labour wrought by the war (people seeking the promise of new lives), the class and Year Publisher racialised system of discrimination persisted. Stuart Hall, 2012 Macmillan Press arriving through a colonial scholarship system from Jamaica to Oxford in 1951, following his degree, worked in South Year London as a supply teacher in a comprehensive (‘Secondary 1978 Modern’) school where he taught those children deemed to be ‘failing’. He described his experience of the complexity of race and class, the misrecognitions of authority and privilege. This experience formed an important strand of his thinking and writing. In 1964 he joined the Centre for Contemporary Cultural Studies at the University of Birmingham, becoming its director in 1968. In 1978 he co- authored Policing the Crisis, a conjunctural analysis of the ‘Each of us plays a part in this tale of arrest and imprisonment of three school-age Black boys terror and desire. Yet rarely do we lay after an unwitnessed mugging in Handsworth, Birmingham. → (to read the full note please visit the Visible bare the emotions driving our most project website) political actions. The truth is, no Labour Fights one is an observer on the sidelines.’ ‘It is above all the school and the to the positions of subordination education system which has the and secondariness for which the principal function of “skilling” the majority are destined … In relation different sectors of the working class to black youth, the education system selectively, and assigning blacks to has served effectively to depress the their rough positions in the hierarchy general opportunities for employment of occupations. It is the education and education advancement, and has

Making Assemblies system which reproduces the wage- therefore resulted in ‘reproducing’ earner with the class-structured the young black worker as labour division of labour, distributes the at the lower end of employment, cultural skills roughly appropriate production and skill … The “cultural to each sector within the technical capital” of this black sector is division of labour, and attempts to constantly expropriated, often construct that collective cultural unwittingly, through its practical identity and disposition appropriate devaluation.’

180 Pedagogical Protest Publishing Racial Protest 181 Platforms Forms Matters Struggles Forms ANNOTATED BY JOANNA WARSZA ANNOTATED BY LU PEI-YI

Public Matters: The Routledge Companion Debatten & Dokumente aus to Art in the Public Realm dem Skulptur Projekte Archiv

Authors LPY The Routledge Companion to Art in the Public Cameron Cartiere, Realm is an upcoming anthology that brings together Authors JW It feels like this book weighs approximately five Leon Tan contributions from across a wide range of disciplines Hermann Arnhold, kilos, but it’s worth the effort of carrying it around! with a view to addressing a significant lacuna in Ursula Frohne, It is the first comprehensive take on the archives of Publisher the field of public art and social practice. The book Marianne Wagner Skulptur Projekte Münster, a public art event that Routledge is organised around four distinct topics: activation, Environmental Issues has taken place in the West German city of Münster social justice, memory and identity and ecology. Publisher every 10 years since 1977. It has established itself as Year Verlag Walther König the barometer of a decade of mostly European and 2020 North American public art, and has developed many Year great projects as well as blind spots. The archive 2019 includes sketches, plans, concepts, unrealised proposals, models, protocols, essays, professional studies, statements and interviews amassed over the past forty years and shows the evolution of the ‘… art as protest is not merely a form European understanding of context-responsive or of symbolic dissent within the art site-specific art and its relation to participation, democracy and counterpublic. world. Instead, it acts as a platform or vehicle for certain values, and is a new form of social practice that potentially engender social and political change. It also highlights an individual’s right to live and their

‘Publicity and participation are the basis of any concerns surrounding social justice. democracy and an open society. They determine Art as protest not only creates a the positioning and development of an unusual space for public discussion but exhibition format: the Skulptur Projekte in Münster. The publication PUBLIC MATTERS bundles the also performs democracy within results of a three-year research in Skulptur Projekte the society.’ Archiv. With essays, case studies, statements and conversations as well as a wealth of previously unpublished material, PUBLIC MATTERS opens up perspectives on one of the internationally most important archive collections on art in public space and reflects on the relevance of aesthetic and curatorial practices for the emergence of publicity.’ New Archives

182 Performing Protest Social Sustainable Protest 183 Communities Forms Design Urbanisation Forms ANNOTATED BY MEENAKSHI THIRUKODE ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA

Selected Political Writings: Space Invaders: The Great Moving Right Show Artistic-Political Interventions Community- based and Other Essays in a Disputed Territory:

Decolonial Narratives Lavapiés (1997–2004)

Author MT From State and Society, ‘The State: Socialism’s Stuart Hall Old Caretaker’: Author JMA Space Invaders surveys the late 1990s Publisher ‘Democracy is not, of course, a formal matter of Jesús Carrillo early 2000s in the Madrid district of Lavapiés, Duke University Press electoral politics or constitutionalism. It is the real a time in which the neighbourhood witnessed passage of power to the powerless, the empowerment Publisher the confrontation between financial and urban Year of the excluded. The state cannot do this for the Brumaria speculative interests and a dense fabric of 2016 powerless, though it can enable it to happen. neighbourly solidarity and organisation. In this They have to do it for themselves, by finding the Year struggle for a life worth living and the critical forms in which they can take on the control over an 2017 claim for public space, artistic action emerged as increasingly complex society. Certainly, it does not central territory, carried out by a network – the happen all at once, through one centre – by simply Red Lavapiés – which gathered the collectives, ‘smashing the state’, as the sort of socialist thinking spaces, associations and squats present in which is fixated on the state would have it. It has to the neighbourhood; an operating figure, that happen across a multiplicity of sites in social life, of the network, that Carrillo opposes to the on many different fronts, including, of course, the traditional artist. Since then, evictions and rents state itself, whose tendency to concentrate power is have escalated, and the collaborative public art precisely what constitutes it as a barrier to socialism. discourses have been appropriated by the cultural Gramsci advanced the profound idea that hegemony institutions (it is important to note that the Reina is not constituted only by the state, but in the Sofia Museum, La Casa Encendida and Tabacalera Labour Fights multiple centres of civil society. It follows that an are all located in Lavapiés). The publication shows, alternative conception of socialism must embrace nonetheless, how these fights and apparent failures this struggle to democratise power across all the served as an experimental ground for new political centres of social activity – in private as well as public imaginaries, which paved the way for the so-called life, in personal associations as well as in compulsory ‘new municipalities’. obligations, in the family and the neighbourhood and the nursery and the shopping centre as well as in the public office or at the point of production.

If the struggle for socialism in modern societies is a ‘I am reclaiming the Making Assemblies war of positions – different places from which we can network as an agent all begin the reconstruction of society for which the state is only the anachronistic caretaker.’ distanced from the traditional artist.’

184 Protest Racial Protest 185 Forms Struggles Forms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to Publishing this topic

Matters Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing Making Assemblies Migrant Movements by Cooperativa Cráter Invertido, 2012–ongoing. 2012–ongoing. Invertido, Cráter Cooperativa by 2016, Lentezza, con Lavorare Courtesy shortlisted of the artists. project) Award (2015 Visible New Archives

186 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY NARAWAN KYO PATHOMVAT ANNOTATED BY MIGUEL A. LÓPEZ

Awakened Herramienta Generosa (Il Re di Bangkok/ตาสว่าง) vols. 1, 2 and 3 Community- based

Authors NKP Though there have been countless academic Author ML Herramienta Generosa is a periodical published Claudio Sopranzetti, and journalistic books written about aspects of Michy Marxuach by Beta-Local in Puerto Rico. This series brings Sara Fabbri, uncertainty and violence in contemporary Thai together a number of materials and contributions Chiara Natalucci politics in the past decade, the topic is rarely touched Publisher associated with the various public events organised upon in fiction writing, and even less so in graphic Beta-Local by this independent art space. Their collective work Publisher novels – possibly making Awakened the first of its and public activities encourage other methodologies add editore/ kind. Written and published in Italian in 2019 and Year to think about new pedagogical paradigms, utopia, Reading Italy translated into Thai in 2020, it will be available in 2019 communication, knowledge production, movement, English next year. The book scrutinises the social, politics and public space. Year political and ideological crisis in Thailand through 2019 the tragic story of a motorcycle taxi driver in Bangkok (one of the writers, Claudio Sopranzetti’s, PhD thesis deals with the role that Thai motorcycle taxi drivers play in daily life and their particular importance in ‘¿Qué estructuras creamos y cuáles the political protests of 2010). Self-censorship in the derrumbamos? ¿Qué espacios form of blocks of redacted text appears several times throughout the Thai version of the book, clearly to apoyamos y cuáles inventamos edit out references to the Thai monarchy (uncensored para desempacar significados, in the Italian version). This is a clear indication of para rescatar y plantear momentos the precarious situation and limited freedom of expression in a country that still has one of the most de urgencia? ¿Cómo construir severe lèse-majesté laws in the world. canales compartidos de aprendizaje donde puedan coexistir múltiples historias? Si nos presentamos como interlocutores vivos, ¿seremos capaces de establecer relaciones

‘He was blinded by a single bullet también con la materia inerte, con lodged in his skull, but he gained a new las historias ausentes? Entonces

sight from the very same bullet. And será cuando podremos desarticular Making Assemblies when he awakened to the new sight, he saw that the country in which he lived posiciones deliberadas, dejando was covered in darkness. There was no en la sombra rastros de nuestra escape, no refuge, and no justice. construcción, u de este modo, re- There was no place for his faith. Everything that he once laid eyes articular perspectivas múltiples on was but an illusion.’ desde los aprendizajes vividos.’

188 Pedagogical Performing Protest Publishing Social Publishing 189 Platforms Communities Forms Matters Design Matters ANNOTATED BY JUDITH WIELANDER ANNOTATED BY VIVIAN ZIHERL

Seismography of Struggles – un Magazine, 12.1 Towards a Global History ‘The Unbearable Hotness of Critical and Cultural Journals of Decolonisation’ Decolonial Narratives Decolonial Narratives Author JW Seismography of Struggles – Towards a Global Authors VZ This special issue of the long-running Zahia Rahmani History of Critical and Cultural Journals is an ambitious Neika Lehman, un Magazine marks just part of a wave of research project and narrative display developed by Zahia Maddee Clark resurgent Indigenous and anticolonial thought Publisher Rahmani and the Globalisation programme that she is and artistic practice in Australia in recent years. INHA directing at the Institut national d’histoire de l’art (INHA) in Publisher The contributions range across poetry, ficto- Paris. It’s an inventory of more or less 400 non-European Un Projects Inc. criticism, interviews and essays with vivid purpose Year critical and cultural journals produced in the wake of and immediacy. The transcript of a multimedia 2018 revolutionary movements at the end of the 18th century Year conference presentation of the Ara Iritija archive up to the watershed year of 1989. It provides insights into 2018 by Rene Kulita is published together with audience a broad history of modernity that includes antislavery dialogue, lists of colonial landowners and proprietors movements in Haiti, communism in Tehran, Négritude sit alongside photographic artworks by Julie in London and anarchism in Algiers, demonstrating and, Gough, and Genevieve Greives speaks personally above all, allowing us to re-assess the intellectual, artistic and autobiographically of urban-based Indigenous and political dynamics that were exercised at the heart of practice. The contributions are resolutely affirmative, colonial empires. Hopefully a database dedicated to these at the same time as they are framed in cutting reviews will be freely accessible. criticality. Decolonisation is ‘so hot right now’. But what does that really mean? As co-editor Neika Lehman notes in the opening editorial: Indigenous Rights ‘Thus Seismography of Struggles of those against whom this struggle helps to see, read and understand a was and still is waged: the madness particular writing of the history of the of slavery and the persistence of its world. It was not carried out in the colonial matrix.’ ‘Here’s my real concern: margins or the periphery as has been what’s going to be the next said, but over a very wide territorial ‘That is to say, through journals such distance. The journals exhibited as Souffles in Morocco (published from big fad? What happens come from all continents with the the 1960s to the 1970s), or those born after this?’ exception of perhaps Europe. What from the effervescence of a pan-Arab this history teaches us is about the capital such as Beirut, with its two long continuum of struggles which concomitant journals Shi’ir (ca. 1950s were undertaken for more than two to the 1960s), and Hiwar (ca. 1960s), centuries against the Western world, to which Lebanese, Iraqi, and its colonial models and its goals. This Palestinian intellectuals contributed, was an ongoing struggle. More than and in which poems by Badr Shakir one voluntary participant grew tired. al-Sayyab, who inspired free prose in But it was necessary and conducive. the Arabic language, could be found Most importantly, the fight was side by side with translations of extremely innovative due to the nature T. S. Eliot’s poems into Arabic.’ New Archives

190 Publishing Racial Publishing 191 Matters Struggles Matters ANNOTATED BY NARAWAN KYO PATHOMVAT A Conversation with Alternative Economies What Is a World?: Andrea Phillips On Postcolonial Literature Community- based as World Literature by Visible – Judith Wielander Decolonial Narratives and Matteo Lucchetti Decolonial Narratives

Author NKP World literature is usually a generic and Pheng Cheah apolitical term for non-Euro-American literature, but in this book Pheng Cheah reconsiders this Publisher problematic and ‘normalised’ term and injects a Environmental Issues Duke University Press political determination into rebuilding these new pluralistic ‘worlds’ through postcolonial literature. Year The author shows that the ‘reworlding’ of the world Visible – Judith Wielander and Matteo Lucchetti 2016 in postcolonial literature results in rebuilding and What is the public domain today? Feminisms generating alternative space-time – cartographies and temporalities – to counter the hegemonic From the perspective of your own research colonial narrative and capitalist globalisation. and practice, what is the public domain today, Through novels from the Caribbean, South Asia also in the light of the current coronavirus and the Philippines, various postcolonial sites and

pandemic and the subsequent limitations, with Impacting Mediascapes urgent issues are explored – from environmental the creation of new states of exception and future movements, ecotourism and humanitarian aid, altered scenarios? to military and economic neocolonialism. Andrea Phillips The public domain is a ‘colonial (juridic, economic, symbolic) architecture[s]’, to quote Denise Ferreira da Silva 1. Indigenous Rights To call it this is not new, although I am applying da Silva’s words from the field of what she calls ‘Black feminist poethics’ ‘Understanding world literature in terms of in ways that add to the urgent necessity for its denouncement Labour Fights literature’s connection to worlding and the coming (referencing Hegel, da Silva states that to be Black is to be ‘an of time points to immanent resources for resisting other of the subject’ 2; Hegel and his ascendants produce the capitalist globalization. Capitalist accumulation public domain’s reliability as a space/time to be occupied by

needs and takes time. Capital is augmented ‘the subject’ explicitly; the architecture of the European city is Legal Loopholing by rational technologies and calculations that built upon the appearance of such a subject). appropriate and manage time for the maximal extraction of surplus value. But capital can neither 1 Denise Ferreira da Silva, ‘Toward a Black Feminist Poethics: The Quest(ion) of

give itself time nor destroy it and, moreover, does not Making Assemblies Blackness Toward the End of the World’ in The Black Scholar, 44:2 (2018) p. 84. want to destroy it. This means that an irreducible principle of real messianic hope is always structural 2 Da Silva, ibid., p. 90. to capitalist globalization. The persistence of time is infrastructural to capital and cannot be destroyed. As an enactment of the opening of worlds by the 193 Migrant Movements coming of time, world literature points to something that will always exceed and disrupt capital.’ New Archives

192 Pedagogical Publishing Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Platforms Matters Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies In this sense, the state of exception is the public domain (in a community arts movement. This developed formally (though strange warp of Schmitt and Agamben). The public domain so with many antecedents) in the post-war period where small famously demanded by Habermas for its purported discursive amounts of state support allowed it to exist. freedom is not free; or, is only free for the consecrated subject. Community- based The dialectic of public–private produced by the political concept In contradiction to the UK government’s recent idea of supporting of the public domain (with its museums and galleries, coffee ‘Creative People and Places’ through Arts Council funding shops and concert halls…) is not only regulative (as Wendy (something most people find deeply condescending), community Brown would have it) but violent as a double negative: those arts understood itself at its height as a ‘movement’ that Decolonial Narratives who are not subjects (which may also include the non-human) supported in a pragmatic way people’s imaginative and practical Decolonial Narratives are not banned from the private and the public domain, but they needs. It was an openly political movement that championed can only exist there as object. collective authorship over visibility, and nurtured humility and companionability over reputational value as the principle values of I don’t think the coronavirus makes much difference to this, leadership. In terms of concepts of public space, the community except in the sense that the evacuation of so-called public space art exploded such a notion within the post-war landscape. Environmental Issues makes visible through negation those exclusions I describe From summer play schemes in bombed out urban sites, through here. In a warped twist, Northern Europe’s sudden sentimental rural community music festivals, to disused churches, shared embrace of the ‘public’ facilities it has stripped bare over the short-life housing, empty warehouses, urban and rural streets, past five decades (for instance, in the UK, the NHS) is already tents on hippy country estates, hospitals and village hall cinemas, Feminisms dissolving in the face of pervasive support for reprivatisation. prisons and television studios, spaces used for community arts Back to normality… were pragmatic, ideological, unexpected and ad-hoc, often accommodated amidst the provision of other services.

JW | ML Where do you look for new genealogies? Importantly, this is a history that happens in Europe, but is not Impacting Mediascapes Eurocentric. It certainly had forms of patriarchy embedded While assembly and daily spaces of exchange are within it, but it was also certainly socially transformative. depicted through images of empty and deserted places where human activities have been frozen in Indigenous Rights time, where do we look for new places and areas of JW | ML What are the new formats, languages collective research? Have you recently come across and narrations? any new genealogies that are being written about that develop beyond neo-liberal, Eurocentric, The promiscuous and intersectional way of Labour Fights patriarchal structures and challenge them by composing this annotated bibliography by the fostering socially transformative scenarios? invited practitioners is symptomatic of the non-academic approach to public space and its

AP I think those of us with cultural power need to be careful of logics. The choices catalyse the social issues and Legal Loopholing naming new genealogies. It is not up to us. Especially in the field urgencies in a place of contamination and political of visual culture, once a ‘new genealogy’ is named it becomes a innovation, pushing knowledge production systems biennial thematic. This terrifies me. So instead I will offer an old to be more collective, diverse and inclusive.

genealogy to which I and my friends are returning with guarded How do you think this new hybridisation can Making Assemblies respect (and because it is where our practices started as artists reshape the formats, language and storytelling and theatre-makers; it is where our politics formed); the UK’s around the extended field of public art?

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192 Pedagogical Publishing Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Platforms Matters Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies

AP I’m afraid I’m an academic and love the way that so-called made visible interdependence and the need for new ‘academic knowledge’ allows me to think and act more deeply, forms of empathy across borders and geographical more carefully and more thoroughly. I am also committed to free limitations. Can we see in these new networks and public teaching at a higher level and attempt to do this within alliances a way to question and rework public space Community- based the regulations of the university where I am currently employed. in a civic sense? Having taught in Northern European art schools all my life, I am becoming far less committed to art education. I am afraid AP Yes, but it may not be artists and curators who are best placed of art schools that produce deeply competitive museum-ready to facilitate this. Certainly, artists and curators should not be Decolonial Narratives professionals with egos to match. I oppose the financialisation leading such reworking. Now we need to listen. Decolonial Narratives of education which must be understood as both direct and indirect. There are brilliant things going on in universities – in education, in law, in critical management, in politics – and I try JW | ML Museum as a public space of care to learn from these practices of thought.

When the museum became a domain of the Environmental Issues Until its privatisation in the West, people who worked in State, and its collections public, the objects and universities often worked collaboratively. Stuart Hall exemplified artefacts were turned into a repository of common this, as did the Centre for Cultural Studies that he joined early knowledge, and its narrations a common story to in its formation at Birmingham University. Hall rarely authored which people could belong. But the real publicness Feminisms anything on his own – he wrote and worked collaboratively. He of its premises was rarely achieved. A symbolic and also worked, after gaining his PhD, as a state school teacher. I highly interesting case is when, in 1945, Malmö think we should all do this. Museum opened its doors to house refugees from the Second World War who had fled from all over I am very committed to storytelling. I agree with the sentiment

Europe to Sweden. In this case, the museum not Impacting Mediascapes of the question that storytelling can open up, translate and only responded to a socio-political crisis, acting spread ideas about acts and ideas from one territory to another, like a common good but the act also implied that from one form to another. Perhaps here the coronavirus has culture, and specifically the visual arts, were there produced an interesting situation where those of us lucky to respond to a basic need including food and Indigenous Rights enough not to have been affected directly either physically or shelter from the cold. Can we learn from such an emotionally by the pandemic, have learned to exist through experience today – imagining the museum as an hearsay and forms of rapid mythism in interesting ways. organic part of what we define as public space, and its premises as a space of care? Labour Fights

JW | ML Interconnectedness and interdependence AP OK, some problems with this statement: 1. Are museums really the domains of the State in any way

Translocality has emerged as the other than what Margaret Thatcher called ‘Statecraft’? Legal Loopholing interconnectedness of processes that happen in I don’t think they are, except nominally, even in Sweden. and between different localities. Artistic processes I refer to my earlier remarks on the public domain and ask: in the public sphere resulted as enduring, open who is the subject and who is the object of the museum? 2. Queens Museum, NYC, is currently operating one of its and non-linear processes, which produce close Making Assemblies interrelations between different places and people. largest spaces as a food distribution centre during the covid-19 As a result of globalisation, translocal networks pandemic. This is an excellent pragmatic response, given that

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192 Pedagogical Publishing Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Platforms Matters Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies

most other New York museums and galleries are just wringing Given the reflections shared so far in this their hands and ‘identifying’. However, this is the exception, and conversation, and inspired by this speculative will only exist until the return of exhibition circulation. artistic reading of the museum of the future, 3. I have used my public platforms, often, to suggest that my can you share some visionary ideas on how art Community- based local mega-museum, Tate Modern, should be reutilised more could engage with the public sphere today? beneficially as a community centre and short-life social housing facility. But not as a ‘socially engaged’ commission; rather as a transformative commitment. It is interesting to think about AP I love this film. But it is already a prehistory of the future that Decolonial Narratives who the useful workers currently employed by Tate might be in feels like archaeology. Personally, I don’t believe in ‘visionary Decolonial Narratives such a situation: certainly the cooks, cleaners, technicians and ideas’! I think they are part of the problem. Cedric Price, in 1972, economists would be needed. said: ‘A superb design is the provision of free milk to school children.’ 3 I agree.

JW | ML Visionary ideas for today Environmental Issues

In the publication Visible: where art leaves its own field and becomes visible as part of something else (2010), curator Anna Colin presented the artistic project Feminisms Museum Futures: Distributed by Neil Cummings and Marysia Lewandowska. It takes the shape of a film and a transcript, based on eighteen months of research and interviews with all key employees

of Moderna Museet in Stockholm, from director Impacting Mediascapes to maintenance staff. In the film, Ms Chan from the ‘Asian Multitude network’ is in dialogue with Ayan Lindquist, the museum executive, on her trajectories in cultural governance. By then, June Indigenous Rights 2058, the art market and the art institution have divorced once and for all. Commercial galleries have become ‘a competing meshwork of global auction franchises’, while ‘public/private museum Labour Fights hybrids’ and other nodal cultural entities, in addition to their engagement with so-called ‘art- artefacts’, ‘exhibitionary practice’ and ‘embedded

co-production’ have been dedicating their time Legal Loopholing to activities as varied as cooperating ‘on a draft amendment to Article 39 of the United Nations Declaration of Human Rights’ or distributing

‘regenerative medical technologies’. Making Assemblies 3 Cedric Price, ‘On safety pins and other magnificent designs’, Pegasus, spring 1972, p. 51.

198 199 Migrant Movements New Archives

192 Pedagogical Publishing Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Platforms Matters Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to Queer this topic

Cultures Community- based Decolonial Narratives Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights

→ Giuseppe Campuzano passed Labour Fights away in 2013, the year he was nominated for the Visible Award. The following year Visible

organized his first European Legal Loopholing presentation, at Erg Gallery in Brussels, of his long term project Museo Travesti del Perú, curated

by Miguel A. López. In 2014, this Making Assemblies work became the leading image of the Belgian Gay Pride. Migrant Movements , 2011, by Giuseppe Campuzano. by 2011, , ID Document for Photographs Carnet. Alva. Machuca. by Claudia by Germain Photo Makeup Archive. Courtesy of Giuseppe Campuzano’s New Archives

192 Pedagogical Publishing Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Platforms Matters Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY MATTEO LUCCHETTI ANNOTATED BY MIGUEL A. LÓPEZ

The Against Nature Journal Axis Mundo: #1 Summer Queer Networks in Chicano L.A.

Decolonial Narratives Authors ML Initiated in 2014 as a commission by the NGO Authors ML This catalogue accompanied one of the Aimar Arriola, Legal Agenda and arts organisation Ashkal Alwan C. Ondine Chavoya, best – if not the best – exhibitions organised within Grégory Castéra in Beirut, The Against Nature Journal explores ‘crime David Evans Frantz the framework of the Pacific Standard Time: against nature’ laws and their legacies in order to Los Angeles / Latin American (PST:LA/LA) project Publisher foster dialogue on sexual and reproductive rights Publisher developed by the Getty Foundation in 2017. Council Publishing and rethink nature anew. Six years in the making Prestel and Axis Mundo collects a number of essays, and workshopped through symposiums, meetings, DelMonico Books documentation and unpublished materials around Year exhibitions and many other forms of knowledge the queer Chicana/o artists in Los Angeles from 2020 production, this magazine sees the light featuring an Year the 1960s to the 1980s. The editors depart from incredible series of texts penned by queer activists, 2017 the work of artist and activist Mundo Meza in lawyers, theologists, journalists, researchers and order to highlight a large scene and generation of many other experts. This is not only a magazine that experimental artists, collectives and music bands, creates an unprecedented insight into the relationship whose practices brilliantly and bravely intersected between colonial penal codes and the current violation various forms of social and political struggle. of human rights across the globe, it is also thought as a tool for many individuals and organisations that are concerned with such topics and are actively operating in the fields of law, activism, social sciences and the arts. In fact, 1,500 free copies have been distributed towards these subjects, imagining this magazine as an actual aid to their struggles. ‘This period witnessed tumultuous and inspiring political activism around identity and social justice, including the emergence of the Chicano civil rights, women’s, and gay liberation movements, as well as, ‘Over the millenia, the authority of ‘Living in a society based on a later, the political activism of the AIDS epidemic. nature has been enlisted in support of secular legal system with a religious This was also a period of tremendous growth and

Legal Loopholing many causes: to justify and to condem imprint, we are subject to the concept experimentation in the visual arts, especially in nature slavery, to praise breastfeeding and figure of “nature.” It is used Southern California, which saw the rise of numerous and to blame masturbation, to elevate to criminalize individuals for non- art schools, the establishment of many of the region’s the aesthetic of the sublime over the reproductive sexual orientations, core cultural institutions, and the founding of beautiful, and to undergrid ethics by gender identities, and ways of being. numerous alternative art spaces that supported appeal to instinct or evolution.’ This affects primarily LGBTQI+ Chicana/o, feminist, and queer cultural producers.’ communities, but it extends beyond them too. The legal language to support such criminalization often stems from colonial legal codes: the Napoleonic Penal Code, for example, and various other British texts.’

202 Queer Racial Queer Performing 203 Cultures Struggles Cultures Communities ANNOTATED BY MATTEO LUCCHETTI ANNOTATED BY VIVIAN ZIHERL

Countersexual Manifesto Unbecoming

Author ML This pivotal book, in its latest English Authors VZ Often an outsider has keener insight into a Paul B. Preciado version, represents one of the crucial efforts Eric Michaels, society’s fundamental structures than many of

in deconstructing the ‘supposedly biological Paul Foss those raised in its midst. Eric Michaels was an Decolonial Narratives Publisher foundations of the heterocentric regime’. Departing American who died in Australia in 1988, where Columbia from an anecdote about the Marquis de Sade and Publisher he counts among the AIDS dead. Working as an University Press his use of a dildo both as a sex toy and a case for his Duke University Press ethnographer in the Yuendumu community, he writing in prison, Preciado introduces the idea that witnessed the emergence of the 1970s and 1980s Year sexuality is something we can fabricate. This text Year market for Aboriginal art, and is counted among 2018 swings between pop culture and theory to inspire 1997 its keenest observers and critics. Essays such as a call to action in rethinking our ways in which ‘Bad Aboriginal Art’ remain indispensable in their sexuality responds to a performativity of our need to unflinching view of the contradictions and colonial emancipate our bodies from the given norms. neurosis of white Australian attitudes to Indigenous Feminisms art production. Unbecoming is Michaels’s AIDS diary. From his Brisbane hospital bed Michaels casts a dispassionate and often disgusted eye across the Australian Bicentennial celebration, queer cultures at the colonial crossroads, and the strange habits of second-hand furniture salesmen. Particularly ‘The lesson we learn from the survival memorable is a Foucauldian take on the Australian of Sade’s most challenging text is not ‘tidiness’ discourse and historical erasure – from the only that hollow dildos can be useful grime beneath his hospital table in the infectious pens for hiding secrets or that any diseases ward to white-painted rocks at Yuendemu. dildo can eventually contain a book ‘The feminist and queer theories of but also that a book can operate like the fin-du-siècle could be described a dildo by becoming a technique for as a coming to terms with the fabricating sexuality. Like a dildo, hypermasculinity, white supremacy, a book is a sexual body’s assisted and heterocentrism of central cultural technology of modification. European psychoanalytic theories ‘Ruined, ruined, what a bugger In this sense, this book, too, is a dildo. of sexuality. Drawing on the steps of a day! Everything was going to A dildo-book and a book about dildos that feminist and queer theories took that aims to modify the subject who against psychoanalytic norms, the get done at once: QuAC cleaner, might use it.’ texts and exercises included in this and carpet people, installing the manifesto could be understood as ceiling fan. And Lee, dear Lee, was a counterclinic of queer and trans sexualities.’ to coordinate all this, and that was crucial, because as you know, dear diary, I cannot deal with Brisbane people directly without getting into horrible fights.’ New Archives

204 Queer Queer 205 Cultures Cultures ANNOTATED BY MEENAKSHI THIRUKODE Alternative Alternative Economies

Unruly Visions: Community- based The Aesthetic Practices Community- based of Queer Diaspora Decolonial Narratives

Author MT In my continued interest in archives, and Gayatri Gopinath erased or lost histories, Gopinath’s book was an expansion on those ideas, including a look at Publisher regionally specific archives. How do we understand Environmental Issues Duke University Press affect, image, pasts, narrations that aren’t only of the word? It also provides an opportunity to think Year through the idea of ‘gaze’ differently. Her notion of 2018 ‘queer relationality’ is an important ‘landscape’ in Feminisms Feminisms the making – where queer diaspora allows us to see those proximities more clearly. Impacting Mediascapes ‘An exquisite meditation on diasporic loss and Racial Struggles longing, Lose Your Mother (Saidiya Hartman) is not a triumphal return to origins; the diasporic sensibility that emerges from the text is marked by Indigenous Rights the impossibility of return as well as, for the most part, commonality or affiliation. Throughout much of Hartman’s narrative, there is an unbridgeable distance between her and those she encounters in Labour Fights Ghana. “The rupture was the story”, she writes, not the hope of re-creating lineage and familial genealogy. The effect of diaspora in Hartman’s

text, is that of irredeemable loss, failure, defeat, Legal Loopholing alienation and disappointment; it is these forms of negative affect that saturate the text, and where Hartman herself as narrator resides. Speaking of

the numerous African American tourists who travel Making Assemblies to Ghana to view slavery’s ruins, she writes, “Did the rich ones suffer from nostalgia? Did I? Was longing or melancholy what defined the tribe of the Middle Passage?”’ Courtesy of the artist. Scan the QR code Migrant Movements to access the Visible Projects’ archive section related to by Dread Scott, Scott, Dread by Reenactment Slave Rebellion 2013–2019. (2015 Visible Award longlisted project) Award (2015 Visible this topic New Archives

206 Performing Queer Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Communities Cultures Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY ANDREA PHILLIPS ANNOTATED BY SHELA SHEIKH

Black Marxism: The Making Une écologie décoloniale: of the Black Radical Tradition Penser l’écologie depuis le monde caribéen

Author AP Avery Gordon introduced me to this book, having Decolonial Narratives Cedric Robinson taught with Robinson at UC Santa Barbara until his retirement from the Centre for Black Studies Research. Author SS It is becoming increasingly apparent that ‘one Publisher It was to become a crucial resource for me: as someone Malcom Ferdinand cannot be anti-racist without being an ecologist University of North brought up in the Western Marxian tradition, I needed today, and vice versa.’ Such is one of the underlying Carolina Press this corrective from Robinson: that Marx profoundly Publisher premises of Malcom Ferdinand’s 2019 book Environmental Issues misread the history of oppression and thus the Seuil (appearing in English translation with Polity Press in Year possibility of revolution as a white, Western concern the of autumn 2020), which forcefully calls for the 1983 and tradition. The book ‘attempts to map the historical Year politicisation and decolonisation of the practice and and intellectual contours of the encounter of Marxism 2019 study of ecology and the recognition that climate and Black radicalism, two programmes for revolutionary crisis is bound up with histories and persistent change’ (p. 1). It does this through a systematic reading traces of colonisation, and the acknowledgement of the long tail of Black intellectual and activist struggle. that environmental justice is intimately linked to decolonial and anti-racist struggles across the world, both historically and nowadays. Thinking ‘public ‘For those African men and women their native consciousness of the space’ here in terms of spaces of environmental whose lives were interrupted by world from alien intrusion, the ability activism or institutionalised positions of enslavement and transportation, it to imaginatively re-create a precedent environmental stewardship and advocacy, many have was reasonable to expect that they metaphysics while being subjected to lamented the whiteness of the green movement and would attempt, and in some way enslavement, racial domination, and the fact that racialised persons are still conceived realize, the re-creation of their lives. oppression. This was the raw material as what sociologist Nirmal Puwar names ‘space It was not, however, an understanding of the Black radical tradition, the invaders’: deviants from the ‘somatic norm’, bodies of the Europeans that preserved values, ideas, conceptions, and that ‘are marked out as trespassers, who are, in those Africans in the grasp of slavers, constructions of reality from which accordance with how both spaces and bodies are planters, merchants, and colonizers. resistance was manufactured.’ imagined (politically, historically and conceptually), Rather, it was the ability to conserve circumscribed as being “out of place”.’ → (to read the full note please visit the Visible project website) Such an understanding is influenced by W. E. B. Du Bois’s understanding of ‘double consciousness’ as both a tactic and a resistance. It can also be patently felt ‘To the environmental urgency of First Nations, the formerly colonized in the writings of Octavia Butler, who imaginatively limiting global warming and putting and racialized people; and of equal recreates a ‘prelife’ of slavery through a futurism that a stop to the destruction of Earth’s social and political consideration of will not take the substrate of historical reasoning from ecosystems, I add some equal women, especially racialized women white history. I know many of the artists whose work has urgencies: of a global redistribution from former European colonies. been acknowledged by Visible both belong and desire of wealth and social justice; of the Yes, ecology is above all an issue of to emancipate this consciousness of power of alternate decolonial task of recognizing a worthy justice. The ecological crisis is a crisis histories and contexts. place in the world for the peoples of of justice.’

208 Racial Racial 209 Struggles Struggles ANNOTATED BY ANDREA PHILLIPS ANNOTATED BY SHELA SHEIKH

From #BLACKLIVESMATTER From the Tricontinental to Community- based to Black Liberation the Global South: Race, Radicalism, and Transnational Solidarity

Author AP Taylor is one of the clearest Black political Decolonial Narratives Keeanga-Yamahtta writers that have helped me historicise the Black Taylor Lives Matter movement. Her words are clear Author SS Published in 2018, Anne Garland Mahler’s From and ring sharply against the continual brutality Anne Garland Mahler the Tricontinental to the Global South is a compelling Publisher evidenced in the US and the UK this summer and historical narrative that seeks to read the legacies of Haymarket beyond. Importantly, she refuses to divide the Publisher the Tricontinental, a Cold-War transnational, anti- struggle for Black liberation from the stratification Duke University Press imperial struggle for racial justice, in the context Year of class. Perhaps even more poignantly, this book of contemporary social movements, in particular 2016 was published in 2016, at the end of Obama’s Year in the USA. While the references at the time the second term and before the election of Trump; thus, 2018 publication was written were events such as the 2014 Feminisms it faces backwards and forwards; it historicises and restoration of relations between the USA and Cuba, is prefigurative. and the protests in Ferguson, Missouri, following the police murder of Michael Brown the same year, the book speaks to the current surge in the global reach and internationalist impulse of Black Lives Matter following the murder of George Floyd in May 2020. → (to read the full note please visit the Visible ‘Racism in the United States has never been just project website) about abusing Black and Brown people just for the sake of doing so. It has always been a means by which ‘While it was consistently hypocritically the Nuyorican movement, writings by the most powerful white men in the country have silent on racial inequities within Black Power and Puerto Rican Young justified their rule, made their money, and kept the Cuba, the Tricontinental played a Lords activists, as well as works from Labour Fights rest of us at bay. To that end, racism, capitalism and pivotal role in generating international contemporary social movements class rule have always been tangled together in such a solidarity with the U.S. civil rights such as the World Social Forum and way that it is impossible to imagine one without the movement as well as with the Black Lives Matter. Through this other. Can there be Black liberation in the United antiapartheid struggle in South Africa, tracing, this book identifies a set of States as the country is currently constituted? and its vision of global resistance Tricontinentalist texts, referring to any No. Capitalism is contingent on the absence of was shaped by its foundations in cultural product that engages explicitly freedom and liberation for Black people and anyone black internationalist thought and with the aesthetics and especially else who does not directly benefit from its economic by the close involvement of African the discourse of Tricontinentalism, Making Assemblies Making Assemblies disorder… Building the struggles against racism, American and Afro-Latinx activists. meaning it reflects a deterritorialized police violence, poverty, hunger, and all of the From the Tricontinental to the Global vision of imperial power and a ways in which oppression and exploitation express South analyzes the expansive cultural recognition of imperialism and racial themselves is critical to people’s basic survival in production of the Tricontinental and oppression as interlinked, often using this society. But it is also within those struggles for traces the circulation and influence of a racial signifier of color to abstractly the basic rights of existence that people learn how its discourse in related radical texts refer to a broadly conceived transracial to struggle, how to strategize, and build movements from the Americas, including Third political collectivity.’ and organisations.’ Cinema, Cuban revolutionary film, New Archives

210 Protest Racial Social Racial Protest 211 Forms Struggles Design Struggles Forms ANNOTATED BY GABI NGCOBO ANNOTATED BY BEATRICE GALLUZZO

Tavia Nyong'o in Conversation Threshold(s) with Luke Willis Thompson in Social Text Online Journal Author BG Threshold(s) was the last exhibition hosted by CAMP/Center for Art CAMP before its closure, and I am particularly fond

on Migration Politics of this show since I actively took part in its making Decolonial Narratives and development day by day. Guest-curated by Publisher GN This contribution is an edited transcript of Publisher the Mälmo-based art historian Temi Odumosu, the Social Text Online an email interview centred around eventually they CAMP/Center for Art exhibition wanted to investigate what happens when Journal introduced me to people I immediately recognised on Migration Politics asylum seekers and migrants are granted residence would take me out anyway, a work by Willis and we must co-exist. Odumosu gathered works Year Thompson for the 3rd New Museum Triennial. Year by five women artists, whose identities are ‘in the 2015 The work entails an invitation to a museum visitor to 2021 middle’, thus they currently live in Scandinavia but follow a black person/performer on choreographed they were born in other parts of the world: Michelle routes in selected New York City boroughs. The email Eistrup (Jamaican/Danish), Luanda Carneiro Jacoel format of the conversation between Nyong’o and the (Brazilian/Norwegian), Yong Sun Gullach (Korean/ artist avoids a descriptive language of the work itself. Danish), Pia Arke (Greenlandic/Danish), Saba The correspondence between the two reads like a Bereket Persson (Ethiopian/Swedish). According to performative act, one in which readers are invited do the curator, these women are ‘post-memorial artists what the performance piece instructs participants to committed to processing colonial legacies and their do, to follow, be led into a known unknown. residual affects/effects, by bearing the personal, collective and cultural trauma of those who came before’ (p. 7).

‘The afterlife of this work is constituted for me then, not just by the kinds of disruptions to it that police or the city provided, nor by the ongoing crises to which it refers, but by the fact that the experience ‘A threshold is a bridge, couldn’t be corroborated and it produces a sixth or confirmed with others. It was this decision to make a work that stays in I’m sure almost no one saw the dark, in the kind of occult space of street life, sense of something the same work, in the same and intimately, between a single performer and more, something beyond. time, as anyone else. a winnowed audience, that I hoped would bring Through these inspiring the performance into a unique condition in which questions of its status as an artwork or not, and artistic practices, I invite variables in terms of its level of visibility, would have you to continue to explore no bearing on its potential for power.’ the politics and poetics of relation.’

212 Racial Social Social Racial 213 Struggles Design Design Struggles ANNOTATED BY SHELA SHEIKH Scan the QR code to access the Visible Projects’ archive Alternative Economies Rural section related to this topic Unfixed: Photography and the Politics Decolonial Imagination in West Africa Community- based Decolonial Narratives Author SS In Jennifer Bajorek’s Unfixed: Photography and Decolonial Narratives Jennifer Bajorek the Decolonial Imagination in West Africa, once again Courtesy of the focus is on decolonisation and the role of the Publisher imagination (see Azoulay, Ferdinand), internationalism Duke University Press and global liberation movements (see Garland Mahler, Gray), as well as attending to the proleptic import of Environmental Issues Year a particular political imagination produced in part 2020 through photography. The object of analysis in this case is the relationship between photography and decolonial political imagination in Francophone West Feminisms the artist. shortlisted project) Award Visible (2019 Africa in the years immediately leading up to and Ibom in Nigeria) Carved to Flow (Akwa region 2017–ongoing. Otobong Nkanga, by following independence from French colonial rule (1960), with a particular focus on Senegal and Benin. This moment of decolonisation coincided with the rapid development of photography both in West Africa Impacting Mediascapes and globally. Combining close formal analysis of photographs (the book is generously illustrated) with detailed archival research and extensive interviews, in conversation with contemporary theories of photography, the book explores genres such as studio Indigenous Rights portraiture, ID cards and documentary images. → (to read the full note please visit the Visible project website) Labour Fights

‘Each chapter puts photographs from I argue and try to show that Legal Loopholing west African archives and collections photographers, their subjects, and associated with the independence their publics used photography to generation into dialogue with stories express new experiences, to reshape Making Assemblies Making Assemblies shared, and knowledge produced, in public and political discourse, and interviews I did with west African to facilitate new conversations, photographers, their descendants, relays, and exchanges – with people and other collectors and keepers of living right next door to them and photographs in order to illustrate the all over the world – both on the eve multitude of ways that urban west of independence and in the post- Migrant Movements Africans were using expanded access independence years.’ to the medium in this moment. New Archives New Archives

214 Protest Racial Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Forms Struggles Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY PELIN TAN ANNOTATED BY VIVIAN ZIHERL

Against the Grain: Dark Emu: Aboriginal Australia A Deep History of the Earliest States and the Birth of Agriculture

Author PT James C. Scott, one of the most important Author VZ Sometimes a book is a movement. That is the James C. Scott scholars of anarchism and agrarian societies, Bruce Pascoe case with Pascoe’s Dark Emu. First published in examines urban spaces, economies and the 2014, it is now into its twenty-fifth reprint. After a Publisher founding of states through the means of production Publisher fumbled right-wing attempt to discredit the author Yale University Press and dissemination of non-human elements such as Magabala Books in early 2020, the uptake of this book shows no crops. It is important to understand the production signs of slowing at the time of writing. The book Environmental Issues Year of spaces not only through the existence of societies Year opens with an astrological image. The Dark Emu 2017 or agricultural communities but also through 2014 of the title is Biame, a Spirit Emu visible as a dark agricultural production or means that influence shape in the Milky Way. Pascoe points out that slavery, exchange and other forms of organisation of whereas the European tradition is to stare at the urbanism. Scott gives a detailed analysis of Ancient stars, the Indigenous way is to recognise the spaces Mesopotamian cities, which is very inspiring and between them. From here he goes on to expound a helpful in understanding the role of grain in ancient vast retinue of Indigenous agricultural and socio- global urbanism as well as the destruction of cities. political technologies that have been and largely The book provides historical facts on colonialism remain unseen by the settler-colonial or modern and slavery through the dissemination and means of European mind. The book is inseparable from production of grain that may provide a good source praxis, and earlier this year Pascoe led a harvest of of information for artists who are working with grain mandadyan nalluk grain, in a project developed with and within the practice of farming both in urban and a community near Mallacoota. Just as important for rural spaces. many were the photos that also circulated in early Indigenous Rights 2020 of Pascoe clad in volunteer firefighter gear as terrible infernos raged and the national leadership Labour Fights left for Hawa’ii.

‘How were we also domesticated by the domus, by our confinement, by crowding, by our different patterns of physical activity and social organization? Finally, by comparing the life world of agriculture-strapped as it is to the metronome of a major cereal grain-with the life world of the hunter-gatherer, I make the case ‘Baiame, the creator Spirit Emu, left the earth after that the life of farming is comparatively far narrower its creation to reside as a dark shape in the Milky experientially and, in both a cultural and a ritual Way. The emu is inextricably linked with the wide sense, more impoverished.’ grasslands of Australia, the landscape managed by Aboriginals. The fate of the emu, people, and grain are locked in step because, for Aboriginal people the economy and the spirit are inseparable. Europeans stare at the stars, but Aboriginal people also see the spaces between where the Spirit Emu resides.’ New Archives

216 Rural Sustainable Rural Protest 217 Politics Urbanisation Politics Forms ANNOTATED BY SHELA SHEIKH Alternative Alternative Economies

Sakiya: Art | Science | Agriculture, vol. 01 Community- based

Author SS The publication Sakiya: Art | Science | Agriculture Decolonial Narratives Sakiya serves as a document to and resource for a unique Decolonial Narratives practice of engaging and (re-)activating a very particular Publisher kind of public. This is the first volume in a series of Sakiya self-published materials by Sakiya, an academy and international residency programme located on a Year hillside in the village of Ein Qiniya, Ramallah, Palestine. Environmental Issues Environmental Issues 2019 Founded by architect Sahar Qawasmi and artist Nida Sinnokrot, Sakiya promotes visual art, ecological preservation, sustainable agriculture and food justice, combining an emphasis on cultural heritage with Feminisms contemporary artistic and ecological practices. The bilingual publication, in English and Arabic, comprises an overview of Sakiya’s genesis and vision and of the political geography in which it is located (that of the Israeli settler colonisation of Palestine, the Impacting Mediascapes centrality of cultivation practices therein, the neoliberal Social Design speculative development strangling Ramallah, and the legal proprietary status of land in areas A, B and C of Palestine); a speculative, multi-species writing exercise by 2019 fellows Marleen Boschen and Charles Prior; Indigenous Rights a re-print of Silvia Federici and George Caffentzis’s ‘Commons Against and Beyond Capitalism’; an interview with Sinnokrot on the topic of ‘rewilding Labour Fights pedagogy’; an excerpt from the ‘Common Ground’ course reading list; an excerpt from an agroecological study of Sakiya by Omar Imseeh Tesdell; residency

profiles (Samia Halaby, Yara Bamieh and Dina Amro); Legal Loopholing several recipes; and lavish photo-documentation of the site, numerous events (including projects by students from the UK, USA and Palestine), and artistic works

both displayed and produced at Ein Qiniya. Making Assemblies → (to read the full note please visit the Visible project website)

‘By grafting local agrarian traditions to create a new narrative around Scan the QR code Migrant Movements to access the Visible of self-sufficiency with contemporary our relationship to land, knowledge- Projects’ archive art and ecological practices, we seek production, and the commons.’ section related to

by Ruganzu Bruno Tusingwire, 2010–ongoing. 2010–ongoing. Tusingwire, Ruganzu Bruno by Ecoart Uganda Courtesy of the artist. shortlisted project) Award (2015 Visible this topic New Archives

218 Pedagogical Rural Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Platforms Politics Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY JULIA MORANDEIRA ARRIZABALAGA ANNOTATED BY PELIN TAN

Not Now! Now! Radical Pedagogies Chronopolitics, Art & Research

Authors PT Radical Pedagogies is the outcome of a long- Beatriz Colomina, lasting collaborative research project by Beatriz

Decolonial Narratives Author JMA In a time of hyperproductivity and much- Ignacio Galàn, Colomina with her PhD students Ignacio G. Galán, Renate Lorenz needed historiographical revision, the notion of Evangelos Kotsioris, Evangelos Kotsioris and Anna-Maria Meister. chronopolitics (or how every form of subjectification Anna-Maria Meister The book consists of many pedagogical experiments Publisher articulates a particular temporality with specific from the 20th century, from various geographies and Sternberg Press politics to it) has proven incredibly powerful in Publisher cities, focussing primarily on the architecture field, reconsidering the temporal order in which art MIT Press and including a critical stand against architectural Year practice, labour and research are inscribed; but, also, and other types of normative education within 2014 the ones they produce, challenge or disrupt. Year modernity. The experimental design pedagogies are This publication takes its cue from Elizabeth 2020 either in an institution, or outside of an institution, or Freeman’s queer perspective of time in Time Binds experiment as a temporary short-term gathering and Feminisms (Duke University Press, 2010) to incorporate black many other forms run by architects, teachers and and postcolonial critiques of time and modernity scholars. The case studies present a global mapping. in order to trace how certain artistic practices The book also includes many interesting pedagogical contest and prompt alternatives to the hegemonic experiments about alternative pedagogies with organisation of temporal experience – be it intimate, critical content, as well as presenting itself as an social or historical – by minor gestures such as interesting archival case project. As an entangled citing, stuttering, disruption or deferral. archival work, this project may inspire socially engaged art practices that formulate themselves as pedagogical practice, as well as archival projects.

‘What I am doing in my work is not returning to anything, but rather ‘Radical Pedagogies is a collaborative history speaking from an understanding of project that explores a series of pedagogical public and from an understanding experiments that played a crucial role in shaping of my own public relations as architectural discourse and practice in the second half of the twentieth century. As a challenge to composed of and through multiple normative thinking, they temporalities that are held together questioned, redefined, They are radical in the literal meaning stemming in a singular moment.’ and reshaped the postwar from the Latin radix (root), as they question the basis field of architecture. of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact.’ New Archives

220 Social Social Pedagogical 221 Design Design Platforms Scan the QR code to access the Visible Projects’ archive Alternative Economies section related to this topic Community- based Decolonial Narratives Environmental Issues Feminisms Impacting Mediascapes Indigenous Rights Labour Fights Legal Loopholing

Sustainable Making Assemblies Urbanisation Migrant Movements by Jesús ‘Bubu’ Negrón Negrón ‘Bubu’ Jesús Tierra by Puerta de Brigada 2015–ongoing. Agosto-Leduc, and Luis Courtesy recipient) of the artists. Award Visible (2017 New Archives

222 Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms ANNOTATED BY LU PEI-YI ANNOTATED BY GABI NGCOBO

Art and the City: Notes on How to Irritate a Group of Worlding the Discussion Committed Artists: Politics of Emotions through a Critical Artspace at the Ghetto Biennale in Port-au-Prince

Authors LPY This anthology explores the relationship Author GN David Frohnapfel, whose PhD research focus Jason Luger, between art and the city in the context of an David Frohnapfel was the art scene of Port-au-Prince, Haiti, provides Julie Ren increasingly globalised and interconnected a reading and critique of the Ghetto Biennale, world defined by a network of flows, circulation Year founded in 2009, for which he was assistant curator Publisher and exchange (of people, culture and capital). It 2019 and co-curator for the second and third editions. Routledge seeks to deepen our understanding of the role The biennale takes place in the neighbourhood of contemporary art in shaping the landscape between Grande Rue and Rue du Magasin de L’Etat Year of protest across various globalised urban in downtown Port-au-Price, where artists affiliated 2017 environments through the idea of a ‘critical with the Atis Rezistans collective, the co-founders artscape’ that functions as a lens through which of the biennale, live and work. Whilst British artist the political exigencies of art and urban space may and curator Leah Gordon, another co-founder, has be viewed. This book comprises fifteen essays and described the event as a ‘curated social situation’, is categorised into three sections: 1) Alternative Frohnapfel argues that the biennale is part of a imaginations; 2) transformative processes; 3) ‘prolonged process of urban poverty tourism’ marred public(s), participation and representation. by power structures that often leave the Haitian Significantly, the book includes three essays that artists disgruntled. Though remaining critical of the focus on the 2014 Umbrella Movement in Hong event, Frohnapfel asserts, ‘the biggest strength of Kong, a historically significant event that inspired this biennale project is indeed the production of a the publication of this book. space where inter-klas tension and conflict become possible.’

‘“Worlding the critical artspace” serves here as an introduction to ‘Traditionally the neighborhood and small warehouses, renting small begin shifting our desire from the between Grande Rue and Rue du houses made out of corrugated definitive, final explanation towards Magasin de L’Etat was a place where metal. In the last sixteen years, the considering the many multiple ways artisanal craftwork for the Marché inhabitants of this neighborhood re- en Fer (Iron Market) in Port-au- invented the area as a destination for these practices can be interpreted Prince was produced. Today the adventurous art tourists and adapted as disruptions – in terms of how we neighborhood mainly produces to its new visitors with an affinity for understand both art and the city.’ craftwork for wider Caribbean contemporary art. This development tourist economies in Panama, the occurred parallel to the interest of Dominican Republic, Jamaica, or Haitian and traveling curators in the Puerto Rico. Many families began assemblages and sculptures of the to settle between these workshops group Atis Rezistans.’

224 Protest Sustainable Sustainable 225 Forms Urbanisation Urbanisation Fundamental Readings on Socially Engaged Art 2000–2011

The following is a short list of books that contributed to sparking debate and research on socially engaged art in the early 2000s. These books provide publics that are not familiar with the discourse on socially engaged artistic practices with background literature. This personal selection of books, appearing in order of publication, also reflects and pays homage to the early steps in the critical analysis of art projects that challenge the existence of art in the social sphere.

• Tom Finkelpearl (ed.), Dialogues in Public Art, MIT Press, 2001

• Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art, University of California Press, 2004

• Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity, MIT Press, 2004

• Claire Bishop (ed.), Participation, Documents of Contemporary Art, Thames & Hudson, 2006

• Will Bradley and Charles Esche, Art and Social Change: A Critical Reader, Tate Publishing in association with Afterall, 2007

• Blake Stimson and Gregory Sholette (eds.), Collectivism after Modernism: The Art of Social Imagination after 1945, University of Minnesota Press, 2007

• Johanna Billing, Maria Lind and Lars Nilsson (eds.), Taking the Matter Into Common Hands: On Contemporary Art and Collaborative Practices, Black Dog Publishing, 2007

• Angelika Burtscher and Judith Wielander (eds.), Visible: When Art Leaves Its Own Field and Becomes Visible as Part of Something Else, Sternberg Press, 2010

• Nato Thompson (ed.), Living as Form: Socially Engaged Art from 1991–2011, MIT Press, 2011

• Pablo Helguera, Education for Socially Engaged Art: A Materials and Techniques Handbook, Jorge Pinto Books, 2011

• Ute Meta Bauer (ed.), A Dynamic Equilibrium: In Pursuit of Public Terrain, Howard Karno Books, 2007

• Claire Doherty and Paul O’ Neill (eds.), Locating the Producers: Durational Approaches to Public Art, Valiz/Antennae Series, 2011

226 227 CONTRIBUTORS

Emanuele Coccia is Associate Professor at the LU Pei-Yi is a curator, researcher and art critic. École des Hautes Études en Sciences Sociales Her research interests are the theory and practice (EHESS) in Paris. Starting from studies on of contemporary art curation, off-site art (artistic Averroes and Averroism, his research turned to the practice outside museums) and art museum ontological status of images and their regulatory issues. Contemporary Art Curating in Taiwan power, and to the investigation of the nature (1992–2012), a research-based book edited by of living beings. He has published numerous her, was nominated for the 10th Annual Award of books (translated into various languages) on the Art China for ‘Publication of the Year’. She was an topic, including Sensible Life, which analyses associate curator of the 8th Shenzhen Sculpture sensitivity as a complementary – rather than Biennale We Have not Participated (2014); and opposite – ability to rational thinking, The Good co-curator of the 5th Taiwan International Video in Things: Advertising as a Moral Discourse, and Art Exhibition Negative Horizon (2016) at Hong- the most recent and best-known Life of Plants: A gah Museum. She is currently Head of the MA Metaphysics of Mixture, which has been translated Programme on Critical and Curatorial Studies of into ten languages. Contemporary Art, National Taipei University of Education. Beatrice Galluzzo is an independent curator, cultural mediator and art historian, whose Matteo Lucchetti is a curator, art historian and research mostly focuses on the existing relation writer. His main curatorial interests are focused on between contemporary art and migration politics. artistic practices that redefine the role of art and After attaining a BA in Art History and an MA the artist in society. His curatorial projects include in Visual Arts, she will be completing her PhD Sammy Baloji: Other Tales at Lunds Konsthall and at the department of African Studies at the Kunsthal Aarhus (2020); Marinella Senatore: Piazza University of Sussex (UK) starting in September Universale / Social Stages at Queens Museum, 2021, with a research project on post-genocide New York (2017); De Rerum Rurale, the 16th Rome Rwandan Art practices. In 2019 she collaborated Quadriennale (2016) and Enacting Populism in with CAMP/Centre for Art on Migration Politics its Mediæscape at the Kadist Art Foundation, (Copenhagen, DK). Paris (2012). Since 2010 he has been curating the Visible project with Judith Wielander. He served Rebecka Katz Thor is Editor for In-Depth Material as Curator of Exhibitions and Public Programs at and Reflection at the Public Art Agency Sweden. BAK, Utrecht, from 2017 to 2018. He has lectured She has a PhD in Aesthetics from Södertörn as a guest professor at HISK in Gent and the Piet University, Sweden. Her dissertation Beyond Zwart Institute in Rotterdam and contributed to the Witness – Holocaust Representation and the magazines such as Mousse Magazine, Manifesta Testimony of Images investigates the image-as- Journal and Art Agenda. witness in three films made of archival materials. She is active as a researcher, critic, lecturer, writer Julia Morandeira Arrizabalaga is a researcher and teacher in aesthetics and art theory. She has and curator. She is based in Madrid where she an MA from the New School for Social Research, co-directs with Manuel Segade the escuelita at the New York, and has worked as a researcher at the Centro de Arte Dos de Mayo–CA2M, a research Jan van Eyck Academie, Maastricht. organism operating as the digestive system of the institution. escuelita is devoted to collective study Miguel A. López is a writer and researcher as and experimental research, serving as a laboratory well as being Co-Director and Chief Curator of in which to speculate and test the centre’s future TEOR/éTica in San José, Costa Rica. His work programming. Her curatorial projects include investigates collaborative dynamics and feminist Poetics of the Sign and Détour, MACBA (2017); re-articulations of art and culture in recent ATLAS of the ruins OF EUROPE, CentroCentro decades. He has published in periodicals such Madrid (2016) and Canibalia, Kadist Paris (2015). as Artforum, Afterall, ramona, e-flux journal, Art She is also a mediator for the ConComitentes in America, Art Journal, Manifesta Journal, among project in Spain. others. He recently curated Cecilia Vicuña, a retrospective exhibition at Witte de With in Gabi Ngcobo has been engaged in collaborative Rotterdam (2019) and MUAC–UNAM, Mexico City artistic, curatorial and educational projects in South

and last edition of Visible Award Public Jury in the form of a Temporary Parliament. of a Temporary in the form Jury Public Award and last edition of Visible (2020), as well as the exhibition Victoria Cabezas Africa and internationally since the early 2000s. th and Priscilla Monge: Give Me What You Ask For at She is a founding member of the Johannesburg- the Americas Society, New York (2019). based collaborative platforms NGO – Nothing Gets In 2016 he was recipient of the Independent Organised and Centre for Historical Reenactments, Vision Curatorial Award from ICI (Independent 2010–14. In recent years Ngcobo has curated the Curators International), New York. 10th Berlin Biennale for Contemporary Art (2018) Page 226: Page at the Hôtel de Ville. du Conseil de Paris at the Salle Parliament Temporary Award Visible 2019 the 5 This was Project and Lafayette Anticipations. Lorent. by Benoit Photo Project Courtesy of the Visible

228 229 and co-curated the 32nd Biennale de São Paulo Shela Sheikh is Lecturer in the Department of which she produced the first film The Horror Show THE COMMISSIONERS (2016). In Cape Town she has worked at the Iziko Media, Communications and Cultural Studies File, as well as co-curating the Belgian Pavilion at South African National Gallery and at the Cape at Goldsmiths, University of London, where the 14th International Architecture Exhibition at the Africa Platform where she co-curated the Cape07 she convenes the MA Postcolonial Culture and Venice Biennale in 2014 and Le Jardin Essential – Biennale in 2007. Since 2011 she has been teaching Global Policy. Her current research addresses Parckdesign 2016, in Brussels. Currently, she is Visible is a project by Cittadellarte–Fondazione at the Wits School of Arts, University of the environmentalism through a decolonial lens, developing the programme Expanding Academy at Pistoletto and Fondazione Zegna that researches, Witwatersrand in South Africa. She currently lives with a focus on artistic practices and forms of the Royal Academy of Fine Arts in Antwerp with produces and sustains socially engaged artistic and works in Johannesburg. witnessing between the human, technological and the artist Nico Docks. Since 2010, Judith Wielander practices in a global context. Curated since its start environmental. A recent multi-platform research has also been the co-curator of the Visible project in 2010 by Judith Wielander and Matteo Lucchetti, Narawan Kyo Pathomvat is the founder and project around colonialism, botany and the politics together with Matteo Lucchetti. Visible is interested in art projects that consider director of a contemporary art library and non- of the planting includes ‘The Wretched Earth: the social body as a potential for bringing about profit platform, The Reading Room, Bangkok, Botanical Conflicts and Artistic Interventions’, Joanna Warsza is Programme Director of responsible transformation: artists who initiate which aims to produce and disseminate knowledge a special issue of Third Text co-edited with Ros CuratorLab at Konstfack–University of Arts, Crafts long-term processes dealing with environmental and to create critical dialogue and discussion Gray (vol. 32, issues 2–3, 2018), and numerous and Design in Stockholm, and an interdependent issues, alternative economies, indigenous among people from diverse fields of knowledge workshops and talks on the topic with artists, curator and editor interested in how art functions rights, new pedagogical models, migration and ranging from art, literature and film to socio- filmmakers and environmentalists. Together with politically and socially outside the white cube. displacements, among the many other urgencies of political issues that are relevant to contemporary Wood Roberdeau, she chairs the Goldsmiths She was the Artistic Director of Public Art Munich our times. Visible’s name comes from the need to society. The Reading Room is a contemporary art Critical Ecologies Research Stream. 2018, curator of the Georgian Pavilion at the make visible the invisible artistic strategies that are library and archive of over 1,000 items, containing 55thVenice Biennale and associate curator of the applying their creative acts towards the common two distinct resource sections: a contemporary Pelin Tan is a sociologist, art historian and 7th Berlin Biennale. She is the editor of several good in society every day. Visible also alludes to Thai art archive and art reference books from researcher on transversal methodology, alternative books and currently preparing, together with Övül how artists are able to change the frames, speeds all over the world. The Reading Room regularly pedagogies and conflict territories. Tan has been Ö. Durmusoglu, the third edition of the Autostrada and scales through which we perceive visible organises and hosts events such as talks, an Associate Professor of Architecture at Mardin Biennale in Kosovo for the summer of 2021. reality, and expand our horizons of what screenings and workshops. Artuklu University, Mardin, Turkey (2013–2018), Originally from Warsaw, Warsza lives in Berlin. we consider our reality to be and look like. and a visiting Associate Professor at the University → visibleproject.org Andrea Phillips is BALTIC Professor and Director of Cyprus, Nicosia (2018); Hong Kong Polytechnic Vivian Ziherl is a critic, curator and researcher of BxNU Research Institute, Northumbria University (2016); Hong Kong Design Trust (2016– of contemporary art. From 2016 to 2019 she was The Public Art Agency Sweden is a governmental University & BALTIC Centre for Contemporary Art. 2017); and The Japan Foundation, Tokyo (2012). the founder and director of the art and research agency that produces public art. Founded in Andrea lectures and writes about the economic She is a Senior Research Fellow at the Centre foundation Frontier Imaginaries that staged 1937 under the Ministry of Culture, the mission and social construction of public value within for Arts, Design and Social Research, Boston internationally mobile thematic editions through and work of the Public Art Agency have followed contemporary art, the manipulation of forms of (2020–2021), and a member of the curatorial board exhibitions, art commissions and symposium developments in society and adapted to changes participation and the potential of forms of political, of IBA Stuttgart 2027. She also served as a guest projects together with programme partners ensuring that the art that is produced reflects architectural and social reorganisation within curator for the I-DEA archival project at Matera including Columbia University, e-flux Projects, the present day. Contemporary art is about more artistic and curatorial culture. Her forthcoming 2019, European Capital of Culture, Italy. Tan was the Institute of Modern Art (Brisbane), the QUT than just objects – it is about experiences, social book Contemporary Art and the Production of named the Keith Haring Fellow in Art and Activism Art Museum and the Van Abbemuseum, amongst interactions and critical and creative practices. Inequality will bring together discussions on the at Bard College in the USA. others. She was curator of the Jerusalem Show VIII In a similar way, public space consists of more politics of public administration and management (2016) with the Al Ma'mal Foundation and as part than just streets and squares – it consists to an with recent analyses of arts institutions, alongside Meenakshi Thirukode is a writer, researcher of the 3rd Qalandiya International, was nominated equal degree of social and mental public spaces. debates on value (public and private) informed and a 2016–17 FICA Inlaks Goldsmiths scholar at for the ICI Independent Vision Curatorial Award These are the spaces that arise when we meet one by research into the political functions of the art the M.Res program in Curatorial/Knowledge at (2016). Ziherl is a PhD candidate in Curatorial another, exchange ideas and express our feelings. market and personal experience of organizing, Goldsmiths, University of London. Her areas of Practice at Monash University, Melbourne. She is This web of complex and dynamic situations is the lobbying and governing contemporary arts research include the role of culture and collectivity currently Research and Programme Manager at the Public Art Agency Sweden’s natural arena. institutions and arts education institutions. in the sub-continent within the realm of a trans- Formerly Known As Witte de With in Rotterdam. → publicartagencysweden.com Phillips lives and works in London. nomadic, transient network of individuals and institutions. Her recent projects include organising RAW Material Company is a centre for art, the Here, There and Everywhere conference at knowledge and society in Dakar. It is an initiative MAC Birmingham, UK, as part of the India–UK 70 involved with curatorial practice, artistic years celebration, and Out of Turn, Being Together education, residencies, knowledge production Otherwise, exploring performance art histories and archiving of theory and criticism on art. in collaboration with Asia Art Archive (AAA) at The programme is trans-disciplinary and is Serendipity Arts Festival, Goa, India. Her chapter equally informed by literature, film, architecture, ‘Towards a Public of the Otherwise’, will be politics, fashion, cuisine and diaspora. The RAW published in the Routledge Companion Series Material Company also includes the Raw Gallery, for Art in the Public Realm in 2020. a 100-square-meter exhibition space, and the Raw Residency, which provides accommodation Judith Wielander is an independent curator based for international artists, curators and authors in Brussels and Lecce. Her main curatorial research specialising in photography, video and art in focuses on the intersection of Art and Social public space. For this research we were in Engagement. She was a curator at Cittadellarte – dialogue with RAW Material Company Fondazione Pistoletto from 2002 to 2010. members Marie Hélène Pereira, Dulcie Her subsequent exhibition projects include the Abrahams Altass, Fatima Bintou Rassoul Sy film trilogy Cabaret Crusades, which she initiated and Tabara Korka Ndiaye. and developed in 2010 with Wael Shawky and of

230 231 Where art leaves its own field and becomes visible as part of something else ISBN 978-91-519-7718-8ISBN Visible, aproject by publicartagencysweden.com 45, Sweden 11331 Stockholm, Hälsingegatan Public Agency Sweden, Art ThorandAnnikaRebecka Enqvist Katz care for anddialogue. thecontinuous andto would notexist, Magdalena Malm,withoutwhomthisbook to theVisible to Projectcontributed research 2010. since thanks Heartfelt theauthors, thanksto curatorsSpecial andresearchers whohave Acknowledgements Editors’ Grafiche, MeranoItaly |Arti (BZ), MEDUS Druckwerkstatt Printing andbinding (Angelika Burtscher, Burtscher Lupo Daniele Lupo, GiuliaSemprini) Concept andgraphic design Schultz Bettina Copy editing Héchaimé Marie-Nour Translation (French English) to Galluzzo Beatrice Editorial Manager 978-91-519-7718-8ISBN withthepublisher. have overlooked, getintouch rights been please to ourintensive research, Should,their material. despite any person entitled We owners thankallcopyright for reproduce theirkindpermission to Visible andthePublic Agency Sweden. Art thephotographers, © 2020 theauthors, theeditors, theartists, Public Agency Sweden Art Publisher Lucchetti Judith Wielander andMatteo Edited by and thePublic Agency Sweden Art /Fondazione Zegna) Pistoletto Visible (Cittadellarte – Fondazione A research project by Fieldof inthe PublicArt On Artistic Practices Expanded Collectively Annotated Bibliography fondazionezegna.org via Marconi 23, 13835 Trivero, Italy Fondazione Zegna cittadellarte.it via Serralunga 27, Italy Biella, 13900 Pistoletto, Cittadellarte – Fondazione e ‘Perhaps this annotated bibliography represents a s l

e possible alliance that departs from the bookshelves

g of our living rooms while we are experiencing isolation n i and social distancing in the solitude of our homes. h

t The bonds that this research visualises across book e suggestions and urgencies of our times is already an m extended field where art practices for the common o s

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r — Matteo Lucchetti and Judith Wielander, the editors a p s a

e This book has been made possible l

b thanks to contributions by: i s i Emanuele Coccia v

s Beatrice Galluzzo e Rebecka Katz Thor

m Miguel A. López o LU Pei-Yi c

e Julia Morandeira Arrizabalaga b

Gabi Ngcobo

d Narawan Kyo Pathomvat n Andrea Phillips a

RAW Material Company d Marie Hélène Pereira l e Dulcie Abrahams Altass i f

Fatima Bintou Rassoul Sy

n Tabara Korka Ndiaye

w Shela Sheikh o Pelin Tan

s Meenakshi Thirukode t i

Joanna Warsza s Vivian Ziherl e v a e l t r a e r e h W

ISBN 978-91-519-7718-8