Latour sums up, “The question is no longer to grand rights to non-humans, but to accept to be dependent on them.” But what does that actually mean? How can non-human representation look like, what would be a non-anthropocentric assembly? In the 15th edition of The Art of Assembly the theatre group andcompany&Co. praises the intelligence of insects and considers renaming itself ANTCOMPANY, while philosopher Eva von Redecker proposes a “revolution for life” in order to escape the prison of capitalism and find new forms of solidarity: Care instead of domination, regeneration instead of utilization, participation instead of exploitation.
The performances of Ann Liv young often rely on irritation and direct confrontation. There is no shelter, especially for the audience. She pushes the limits, psychologically and sometimes physically. In her lascivious, exalted, and merciless shows Ann Liv Young comes close, too close, psychologically and physically. Trash and depth, naked flesh and gender awareness, flagellation and redemption, chaos and order – her works deconstruct pop-cultural stereotypes, interpret fairy tales very idiosyncratically or retell the biographies of historical personalities. Not infrequently, to land on the ground of desolate reality, Ann Liv Young unsettles her audience by provoking and embarrassing them, transcending the boundaries of intimacy.
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.
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?
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.
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).
Taking up David Graeber’s theorization of Occupy as a movement not simply for political change but for a different kind of politics, Max Haiven presents these afterlives of Occupy as indicative of our political-economic moment where both power and resistance are reconfiguring themselves.
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?