Opinion | Gigi Argyropoulou
Precarious Structures: Passing thoughts on forms and encounters
Tonight, late summer, 20th of August 2015, the Greek Prime Minister Alexis Tsipras resigned and announced early elections, marking the closure of a period of hope when alternatives seemed still within the political spectrum. As the social frameworks collapsed under the crisis many cultural workers questioned what constituted "practice" and "art" within these conditions. A series of "interventions" emerged including cultural occupations, collective direct actions and other counter-forms that practiced "critique" within and of the urban and cultural landscape.
Project | SALT
How Did We Get Here
How Did We Get Here traces the origins of the current context of Turkey at this turning point, in relation to the recent past and via elements of popular culture and social movements that took hold after the coup d'état. Works in the exhibition by Halil Altındere, Serdar Ateşer, Aslı Çavuşoğlu, Barış Doğrusöz, Ayşe Erkmen, Esra Ersen, and Hale Tenger deal with the political and cultural climate of the 1980s, to contribute a broader understanding of the national struggles and social dynamics it entailed.
Collecting Life's Unknowns
Clémentine Deliss
If, today, mass collecting for ethnographic museums has necessarily come to a standstill, which institutions today are still able to place a purchase on life's unknowns? What might a contemporary ethnographic collection look like? Would it be the entire contents of a department store full of the world's functional items and luxury goods with their mixed cultural heritage, skewed authenticity, and multiple producers? Or has the acquisition of life's unknowns shifted from the earlier speculative and occult interests of ethnographers and their museums to the rising market in globalising collections of contemporary art?
Opinion | Vivian Ziherl
What do we talk about when we talk about decolonisation? PART 1
"The art institution is as good a site as any to interrogate the entrenchment of contemporary (neo)colonial styled vectors and forces impacting culture in the broadest senses - in so far as art's own changed, global, financialised, conditions are acknowledged."
The Welfare State Is Not a Thing of the Past
Anders Kreuger
The welfare state has become synonymous with the synthesis of a market economy and active government that characterises both 'Western' and 'emergent' societies today. The term itself can no longer be reserved only for countries such as Belgium or New Zealand, the US or Japan; it also describes how countries as different as Brazil, Turkey, South Korea and China treat their populations.
Project | M HKA
The Welfare State
The welfare state is an abstract notion. But also very concrete. Political, but also bureaucratic. What does it have to do with art? The welfare state operates with regulations, rights and obligations that apply to everyone in the same way, requiring individuals to identify themselves as members of society first and foremost. In this sense, the welfare state is the antithesis of art.
"Representation Under Attack" through the lens of the collections and archives of the members of L'Internationale
This first online presentation by the confederation of L'Internationale of their collections considers the collections and archives through the lens of "Representation Under Attack". It is the result and effect of the use and mode of reading of archives and collections to find traces of attacks and controversial approaches towards art and artists in relation to artistic freedom in all its forms. At the same time, it looks critically for evidence of actions that demonstrate the limits of museological and bureaucratic protocols from the perspective of the institutions themselves. These limits intentionally, or not, limit artistic freedom.
L'Internationale Post-War Avant-Gardes Between 1957 and 1986
Christian Höller (ed.), et al.
L'Internationale Online launches a new section called Resources, in which the ePub books and PDF documents of the publications related to the confederation, the projects of The Uses of Art, as well as the special compilations of the platform itself will be available for free. Post-War Avant-Gardes between 1957 and 1986, edited by Christian Höller and published in 2013 by JRP Ringier, is now re-published and available for free as an ePub book. It features contributions by Boris Buden, Cristina Freire, Jan Hoet, Piotr Piotrowski, Georg Schöllhammer, Immanuel Wallerstein, and many others.
Assembly (L'Internationale)
The international initiative Agency's artistic contribution, Assembly (L'Internationale), reports on a legal case in Australia. An elder from the indigenous community was charged with theft of the Australian Coat of Arms, while he claimed his action was in response to the fact that his community had never been asked for the right to use images of two animals that are sacred to them. His lawyer's attempt to transfer the case into the field of copyright law turned out to be unsuccessful.
Representation Under Attack
L'Internationale Online
Following the attacks on the creators of the controversial satirical magazine Charlie Hebdo in Paris in January 2015, the shootings at a debate on free speech in Copenhagen, the punishment of the rights activist and blogger Raif Badawi in Saudi Arabia, and the subsequent massive civil mobilisation, the cultural field is forced to process the significance of these events and their wider implications for our work. This is a compilation made for the special issue Representation Under Attack that includes the commissioned essays, works and documents from the L'Internationale members' collections and archives, as well as some recent blog posts.