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.
of Spectatorship (Verso, 2012). In anticipation of a reprint to mark the book’s tenth anniversary, this talk will gauge the development of participation over the last decade in art and performance (and beyond). It will revisit the book’s blind spots—namely, omissions concerning technology and race–and reflect on how the book’s central aesthetic argument, in favor of antagonism, has lost force in the last decade.
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.
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.
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.
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.
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?