co-design and deploy forms of creative disobedience since 2004. Consensus decision making and assembling is at the heart of this process, which is always entangled with radical movements and yet also has a foot in cultural institutions. Whether it was co-organising the horizontal processes of Climate Camps, transforming theatre stages into meetings to organise disobedience, facilitating the mass talk shops at Occupy London or at the zad of Notre-Dame-des-Landes, coordinating shared life and struggle against an airport and its world – the Labofii has tasted many flavours of assembling. This talk/film explores Labofii’s experience of these different contexts and ask how can artists use assemblies in the art world without becoming extractivist and loosing the powerful potential of reciprocal relationships to activist movements
The assemblies of the numerous square occupations during the last decade have often been laboratories of radical forms of democracy, experimenting with non-hierarchical structures and consensus models instead of majority voting. While watching these movements with sympathy, political theorist Chantal Mouffe emphasises also the necessity of dissensus, of an agonistic pluralism in which adversaries openly fight for their hegemonic projects. Philosopher and sociologist Didier Eribon reflects on the conditions and the limits of such mobilisations and insists on the unsurpassable plurality of movements like the gilets jaunes in France, or more recently, the massive strikes and protests against the demolition of the public sector, as well as the demonstrations against racism etc. In the 7th edition of “The Art of Assembly” Eribon and Mouffe discuss how much agonism social movements can bare and how the diversity of democratic demands should be addressed.
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).
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).
Choirs are a very specific form of assembling – from representing “the people” in Greek tragedy via all kinds of religious choirs, political choirs, revolutionary choirs up to the legendary human mic at Occupy Wall Street and the iconic chants at Tahrir Square in 2011. Theatre director Claudia Bosse, art theorist Alia Mossallam, and the activists of The Church of Stop Shopping discuss the potential (and perhaps dangers), the tenderness, the precarity and the power of synchronised singing, chanting, shouting along concrete artistic and activistic practices in Cairo, New York and Vienna.
Savitri D explores some of the intersections between Assembly and Song through her work as Director of the Stop Shopping Choir, using mostly casual video and audio recordings she relates the experience of song and singing to the formation of Assemblies and Movement Building.
‘unshaken’. It was one of the newer chants that were infused into us on the 25th of January 2011 – every time the police launched an offensive, and people started to run, someone would shout “Ithabt” as he or she stopped moving, and then several would shout it, and then tens and hundreds, until thousands would stop. I would close my ears and squeeze my eyes shut and let the thousands of voices shake through me, shake out the fear, and stabilise my resolve.
The General Assembly has been at the core of many social movements during the last decade: A zone of gathering, of building community, of experimenting with the way democracy can function. A space not only for trying out but living a different kind of decision making. Art historian Julia Ramírez-Blanco (Barcelona) just finished a book on the Spanish 15M movement, Oliver Ressler (Vienna) is one of the main documentarists of worldwide social mobilizations since many years. In the second edition of Gesellschaftsspiele – The Art of Assembly they reflect the crucial role of collective decision making for developing political alternatives.
Assemblies are normally held on a scale that allows for direct discussion and participation. However, during the Spanish protest camps of the 15M movement in 2011, massive assemblies defied these notions by blowing up scale, and also challenged the idea of a more or less fixed group that thinks about issues with a certain continuity. These mass assemblies, in turn, emphasized the performativity and the rituality. Julia Ramírez-Blanco addresses the potential and contradictions of those mass assemblies and discusses the evolution of the format toward a more manageable form in the neighborhood assemblies.
„Preenactment“ is a term used by choreographer and artist Dana Yahalomi / Public Movement (Tel Aviv) as well as by political theorist Oliver Marchart (Wien) to describe the artistic anticipation of political events to come. So, how can political or artistic assemblies become rehearsals or trainings for an unpredictable future? Recorded on January 23rd 2021