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.
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.
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”
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.
“Assemblism” is a term used by Dutch artist Jonas Staal to describe the role of art, performance and theater in the performative assembly of mass protests and social movements, which is central to his own artistic work. US-American political theorist Jodi Dean on the other hand emphasizes in her writing that social movements need to be translated into a new communist party if they want to become sustainable. So, what is the potential of art in not only investigating or inventing new forms of assembly but also in contributing to the process of transforming them into sustainable organizational structures? And how do recent political mobilizations – from anti-mask-demonstration up to the storming of Capitol Hill – change an often romanticized view on the assembling of bodies in space?
In the United States, the long March of 2020 came to an end on May 26 when protests against the police murder of George Floyd broke out in Minneapolis, Minnesota, quickly spreading all over the country. Also occurring throughout the summer and fall were rallies “defending blue lives,” anti-mask demonstrations, and protests demanding an end to coronavirus shutdowns. On January 6, 2021 a mob stormed the US Capitol, intent on “stopping the steal” of the presidential election from defeated incumbent Donald Trump. In what way does an analysis oriented toward precarity and bodies in space help us understand the politics of the movements? How might emphases on the assembling of bodies in space require a divisive political supplement, an anchoring in history and fidelity to a truth?