Tania Bruguera is a Cuban artist and activist whose work often considers totalitarianism, immigration, and human rights. Bruguera, who intended to raise awareness and expand cultural inclusion, defined her work as arte útil (useful art). Her work has been represented in leading collections of MoMA and Tate Modern among other places. In 2015 she founded the Institute of Artivism/Instituto de Artivismo Hannah Arendt (INSTAR) in order to “foster civic literacy and policy change.” In 2021 she agreed to leave Cuba to assume the position of senior lecturer in media and performance at Harvard University in exchange for the release of 25 political prisoners.
of Spectatorship (Verso, 2012). In anticipation of a reprint to mark the book’s tenth anniversary, this talk will gauge the development of participation over the last decade in art and performance (and beyond). It will revisit the book’s blind spots—namely, omissions concerning technology and race–and reflect on how the book’s central aesthetic argument, in favor of antagonism, has lost force in the last decade.
On the weekend of the German federal elections of 2021IIPM, NTGent, Schauspiel Köln and the School of Political Hope hosted together with #LeaveNoOneBehind and numerous organizations from all over the world a School of Resistance for a new politics of humanity and justice. How can the system of dehumanization, illegalization and exploitation of migrants in Europe be overturned? A manifesto signed by over 80 public figures and a joint fundraising campaign which supports human rights lawyers to bring responsible politicians and officials to court, explored new possibilities and potentials for the convergence of art and activism. Is art a future tool for survival for global citizens to become agents of change in times of crisis?
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
Can institutions be driving forces of change? Or are they doomed to be bastions of the status quo, capable of slow reforms at best? Arguments about institutions, instituting and institutionalizing are at the core of many progressive movements. But what would it actually mean to imagine institutions in a radical democratic way? How can we understand museums, theatres, galleries, festivals, biennales as assemblies – not only symbolically but by consequently re-negotiating their organizational structures? Curator Ahmed Al-Nawas, focusing in his work on collaborative, anti-racist and de-colonizing practices, takes a close look at the role of authorship and representation within collectives. Nora Sternfeld, art educator and curator, negotiates the possibilities for a radical-democratic museum, imagining a future that is more than the mere extension of the present. And Sarah Waterfeld, spokesperson of the collective Staub zu Glitzer (Dust to Glitter) that occupied 2017 Volksbühne in Berlin with its transmedia theatre production B6112, demands a fundamental rethinking of the way the iconic ‘people’s theatre’ is run.
e category of environmental justice, understood as the milieu able to organize and comprehend intersectional struggles (social and racial justice, gender justice, antispeciesism). With regard to the concept of “assembly as strategy”, it is discussed the opportunity for climate justice movement to assemble in order to avoid neoliberalism’s reactionary push towards the so called green economy or sustainable development. Paradigm’s shift towards common care, anthropocentrism criticism and freedom with solidarity is the reference point of climate justice movements and such are premises that might reply to the need for abiding revolutionary institutions.
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?
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.
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).