epresentation they also organize and influence very concretely how legislative bodies work. The 13th edition of The Art of Assembly looks at how architecture shapes decision-making – and at what alternatives there might be. David Mulder van der Vegt, who has researched the design of the parliament halls of all 193 member states of the United Nations, reflects on the correspondence between their layout and the type of democratic structure they represent; Markus Miessen proposes the concept of “crossbenching” as a practice of independent individuals acting without mandate, and without having to respond to a pre-supposed set of protocols or consensual arrangements.
Parliament is the space where politics literally takes shape. Here, collective decisions take form in a specific setting that organizes relationships between political actors through architecture. The architecture of spaces of political congregation is not just an abstract expression of a political culture – it participates in politics. Since 2010, architecture office XML has explored the double-sided relationship between space and politics in a series of projects, ranging from art installations, and research, to an interior for a meeting hall of European government leaders in Brussels. In 2016, the office published the book PARLIAMENT, that documents and compares the plenary halls of the parliaments of all 193 United Nation member states. Looking closer at the settings of these deliberative spaces and exploring their tactile and symbolic meaning, also raises questions about the ability of political spaces to envelop collective-decision-making for the specific challenges of today. Parliaments seem to be merely expressions of the past that anchor the political status quo. What role can architecture play in rethinking our models of collectivity? Can the architecture of parliaments provoke another politics? Comparing settings between East and West, North and South, democratic and authoritarian regimes, allows looking at national assemblies as more than mere ornamental and symbolic representations of national values, taking them seriously as actors in the shaping of future times.
“Crossbenching” is a practice of individuals acting without mandate, a conceptual frame that he generated out of the necessity to come to terms with a critique regarding normative forms of participation. His work as an architect has interrogated everyday spaces for pluralist governance and the spatial choreographies of how to set a setting. Crossbenching, as a practice, acknowledges the critical importance of social gathering based on the performative, the choreographic, and space as its mobilizing agent: the potential to think the question of democratic becoming through the physical scale (and design) of assembly. By presenting friction as a productive variable, he emphasises the emancipatory potential of architecture and design as a tool to shape what he calls “Cultures of Assembly”, a democratic setting, which is highly choreographed, while dealing with questions of physical proximity and accountability generating productive friction between its oppositional bodies. In a Mouffian sense, this produces a space for choreographed agonistic debate. Here, architecture and design become an enabler: both in terms of how an audience may react to it, but also in terms of how a setting influences the way its members talk to each other, and the way in which they interact. This is not to be mistaken with a form of social engineering. But rather: the power of the object.
Hospitality – with all its seeming generosity – is a complex concept: Who is invited into our societies, our assemblies? What are the relationships between guests and hosts? Is unconditional hospitality possible? The architecture of public space, the infrastructures of coming together, the borders and thresholds around them inform how we come together, what is prevented from happening, what is possible. The 11th edition of The Art of Assembly looks at the physical relations of gatherings, how bodies and objects are organised, how radical concepts of democracy can be represented in space. Architect and researcher Merve Bedir since long researches infrastructures of hospitality and mobility as well of the residue of solidarity in urban and public space. For raumlabor architecture is a tool, in search for a city of possibilities, considering themselves activists, operating within the urban landscape. And for architect and scholar Marina Otero Verzier is concerned with how the work of architects, in coordination with other social and institutional techniques, produces differential spaces that either facilitate or prevent their encounter of bodies.
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.
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.
the necessity to rethink the elitism and whiteness nurtured by the Finnish art field and the need to be independent but still engaged and the need to have spaces where failure is embraced as a counter normative actions. Often this led to the creation of what Okwui Enwezor calls ”parallel economies of artistic productions”, as opposed to “alternative spaces”. In such productions, collective knowledge-based practices are used as a strategy to both challenge and unify the field of art.
“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?