B6112 is an anti-capitalist, queer-feminist, anti-racist, transmedial theatre production by the artist collective Staub zu Glitzer (dust to glitter). It was established on September 22nd 2017 with the occupation of the Volksbühne am Rosa-Luxemburg-Platz in Berlin and is not over yet. With and within this artwork, specific demands are made on theatres as institutions: overcoming bourgeois exclusivity, the radical opening of space for a self-organization process and the collective, participatory development of a new city- or state theatre model. It is not enough to designate a small group of people as collective directorships and to appoint them to managerial positions. In addition to egalitarian wage policies, there has to be a fundamental discussion about who is entitled to a theatre stage and who the final decision maker should be in this respect. Berlin’s free space and project-room culture is dying out and one approach is to demand tax-financed institutions for self-organization, although and precisely because this does not correspond to the self-image of these elitist cultural areas. As a place founded by organized workers, the Volksbühne should play a pioneering role in the discourse of participation, anarchist organization, and anti-fascist engagement.
inking about strategies that are challenging the archive, appropriating museum space, producing alternative knowledge and rethinking education, art educator and curator Nora Sternfeld asks: Can the museum become a space of assembly that allows us to deal with what has happened in the past, to negotiate what this means for the present, and to imagine a future that is more than the mere extension of the present?
Didier Eribon is a French sociologist and philosopher. He was professor of sociology in Amiens and visiting professor at the University of California, Berkeley, at the Institute for Advanced Study in Princeton, at the universities of Harvard and Yale, at New York University (NYU) and at Columbia University. His socio-autobiography Return to Reims (2009) in which he reveals the break-up of French society attracted international attention. His work Insult and theMaking of the Gay Self (1999) has become a classic and a founding document of Queer Studies. Among his most recent publications are La société comme verdict(2013) and Principes d’une pensée critique (2016).
Taking up David Graeber’s theorization of Occupy as a movement not simply for political change but for a different kind of politics, Max Haiven presents these afterlives of Occupy as indicative of our political-economic moment where both power and resistance are reconfiguring themselves.
presumed access to shared space. And yet, there have been ways to occupy public space that accept the safety protocols for Covid-19. How then do we think about “safety” in relation to assembly? We speak about the right of peaceable assembly, but do we speak as often about safe conditions for assembly? The idea of safety brings up ambivalent viewpoints, and it became a key topic of debate for the Occupy movement and for the uprisings of the Arab Spring. “To play it safe” means not taking risks, not asking for too much, so what role, if any, does danger now play? If we think that heroic forms of risking our lives is part of a political struggle, what happens when the risk that I take is immediately a risk to you as well? Where does an ethics of care enter into our politics of assembly?
Paris. She is the editor of Gramsci and Marxist Theory (1979), Dimensions of Radical Democracy. Pluralism, Citizenship, Community (1992), Deconstruction and Pragmatism (1996) and The Challenge of Carl Schmitt (1999). She is the author of Hegemony and Socialist Strategy. Towards a Radical Democratic Politics (with Ernesto Laclau, 1985), The Return of the Political (1993), The Democratic Paradox (2000), On the Political (2005), Agonistics. Thinking the World Politically (2013), Podemos. In the Name of the People (with Inigo Errejon, 2016), and For a Left Populism (2019).
In 2019 Sibylle Peters devised a project called Animals of Manchester (including humanz) for which she tried to install a zone of interspecies equality in a park. Live artists, animal rights activists, researchers, kids and a number of species present in Manchester worked together to imagine and rehearse an alternative version of the city: How would it look like, if all species – including humanz – had the same rights?
“Die Vielen“ sind ein solidarischer Zusammenschluss zahlreicher Kunst- und Kultureinrichtungen in Österreich und Deutschland. Diese Sonderausgabe wirft einen Blick auf verschiedene künstlerisch-aktivistische Aktionen im öffentlichen Raum Österreichs: Heidrun Primas, Leiterin des Grazer Forum Stadtpark, ist Mitinitiatorin der “Camps für Moria”; die Künstler Eduard Freudmann und Gin Müller protestieren mit der “Schandwache” gegen ein Denkmal des antisemitischen Wiener Bürgermeisters Karl Lueger; die Bühnenbildnerin Philine Rinnert ist eine zentrale Protagonistin „Der Vielen” in Deutschland.
Drawing on insights from indigenous cultures and everyday practices, D’Souza’s talk focuses on the centrality of assembly for collective life among animals and humans. Capitalist modernity introduces a rupture between natures, peoples and places by transforming nature into property, people into ‘labour force’ and place into territory. The concept of rights in liberal theory and practice plays a critical role in transforming a natural relationship into a legal one founded on property and contract. The challenge is to go beyond “othering”