At least since Joseph Beuys’ legendary “International College for Creativity and Interdisciplinary Research” artistic assemblies are also a playing field for the production and transfer of knowledge. The 17th edition of “The Art of Assembly investigates along concrete artistic practices how tools and experiences from performing arts offer settings and strategies for unexpected communication and transversal education: Choreographer and curator Satu Herrala in her works focusses on embodied knowledges in artistic and curatorial work, creating conditions for art to summon collective and transformative agencies. Artist Ahmet Öğüt – initiator of the Silent University, a solidarity-based knowledge exchange platform by displaced people and forced migrants- often seeks his collaborators outside the art field. Theatre maker Lotte van den Berg, one of the initiators of the ongoing project “Building Conversation”, centers her practice around collective experiences and the relation between performance and social as well as ecological challenges. How can art offer spaces for empowerment and self-development?
Bodies are containers for life, they exist in the present yet carry the past within. Attuning to one’s body and senses is attuning to being in relation with one’s environment and with the myriad of other bodies and life forms that exist in countless shapes and sizes. Bodily knowledge or, “knowing in and through the body”, as philosopher Jaana Parvianen puts it, has been long suppressed in the Western epistemological accounts. What happens when we begin to listen to and with our bodies, when we embody what we know, when we form collective bodies that can act beyond the capacities of individual bodies? How does artistic and curatorial work that attunes to diverse bodies and bodily knowledges contribute to the emergence of transformative agencies and collective action?
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
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.
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.
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.
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?
Discussions about representation in assemblies, democracies and legal cases are usually reserved to human beings. But recent discussions around the Anthropocene and new materialism have fiercely challenged such anthropocentric limitations. Professor for Law Radha D’Souza argues that the concept of rights is fundamentally flawed as it is always associated with private property, contracts, and contractual social relations. Drawing on insights from indigenous cultures and everyday practices, she points out the centrality of assembly for collective life among animals and humans. Performance maker and theorist Sibylle Peters deals in her practice as theorist and theatre maker since many years with concepts of assembling – recently also trying to create zones of companionship in which humans and other co-species can come together without food chains or zoo cages getting in-between.
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?
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”