Milo Rau believes in staging and realistic representation in his theatre plays, while for his tribunals and trials or the General Assembly he invented what he calls „symbolic institutions“ – an open, often antagonistic gathering of opinions and conflicting thruths. Recent projects like The Revolt of Dignity or the School of Resistance tries to hack the economic and political systems by means of art, constructing what Milo calls „alternative micro-ecologies. In his talk, Milo will trace his path from theatre plays and trial projects like Orestes in Mosul or The Moscow Trials to symbolic institutions like The Congo Tribunal and General Assembly – the basis for his actual holistic approach in projects like The Revolt of Dignity or A filmschool for Mosul that he develops with various partners from the arts, civil society and politics.
Multitude is a „multiplicity of singularities acting together“ (Antonio Negri/Michael Hardt), „the many, seen as being many“ (Paolo Virno): a network that is neither homogeneous nor self-identical. The concept of the multitude is a counterproposal to the idea of the people, a revolutionary subject that is difficult to grasp or to define – and has been both praised and criticized for this openness. The 10th edition of The Art of Assembly looks at the role of the assembly as a tool and strategy for the multitude to make decisions and to communicate. Political theorist Antonio Negri revisits the concept he – together with Michael Hardt – popularized in the earl 2000s while climate activist Anna Clara Basilicò looks at its potential for current movements.
Antonio Negri is an Italian philosopher and activist. He has taught at the University of Padua, at the Ecole Normale Supèrieure and other European, American and Asian universities. His books have been translated into different languages and have established him as one of the most relevant thinkers at international level. Together with Michael Hardt he is the author of Empire (2000), Multitude (2004), Commonwealth (2009) and Assembly (2017). (2017). He is among the members of the international collective Euronomade.
form of the table, who sits at the table, and how to sit at the table, as well as manners of eating, talking, and sharing are all based on a politics of instituting everyday life and public space. “Turning the table” then is a matter of questioning hospitality and its politics around the table. Ulus Baker’s theory of intervals is based on the proximity between two things/subjects (that may or may not seem far from each other), and their participation in the existence of a total being. My talk will then focus what might constitute an architecture of proximities.
Architecture, as a biopolitical and normalizing technique, participates in constructing distinctions and categories. The work of architects oozes Cartesianism. It produces differential social spaces that either facilitate or prevent their encounter of bodies and their movement. For the work of architects often involves drawing abstract, assertive lines that define insides, outsides, ups and downs. Lines that support historical forms of exclusion, and discrimination. Yet, these capabilities, I would argue, could also be deployed to dismantle the boundaries that currently define, enclose, and exploit the world and the common interest; the boundaries on compassion; the compartmentalization and instrumentalization of relations. This, in turn, requires imagining other architectures to come. A non-Cartesian architecture that might not be designed to quantify, control, categorize. An architecture difficult to describe under dual categories. An architecture for the encounter and assemblage between animals, humans, plants, machinic and inanimate beings. An architecture of radical hospitality.
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.
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?
About ten years ago the series of square occupations all over the world begun – after Tunis, Cairo, Athens, Madrid the wave swept over to New York. Mid-September 2011 the fist protest begun in the midst of Lower Manhattan’s bank towers: Occupy Wall Street became a symbol of resistance against financial capitalism and big corporations. And it’s assemblies set examples for a different way of discussing and decision making that influences activists all over the word but also resonated in theatre and art. On the occasion of the 10th anniversary of the occupation of Zucchotti Square the 8th edition of The Art of Assembly takes a close look at its legacy: Philosopher Judith Butler, author of the probably most influential book on assemblies in recent years, asks how – in the light of recent pandemic experiences – an ethics of care can enter into our politics of assembly. Writer and activist Max Haiven summons the ghosts of Occupy and looks – in the the spirit of the late anthropologist and OWS key figure David Graeber – back at a haunted decade.
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).