How to prepare for a hurricane, pt 2, 2019
Performance by Quinsy Gario with the participation of Glenda Martinus and Jörgen Gario, 43:10 min

On September 5th 1995 the Dutch Caribbean island of St. Maarten experienced its worst hurricane in recorded history. 'how to prepare for a hurricane pt. 2' is a performance that centers on one family's experience of that devastating event. A mother and her two sons contemplate loss, forgiveness and fundamental changes in the face of a life altering event with poetry, music and blue tarp. A commission by L’Internationale Online, co-produced with Van Abbemuseum.
The Riot, 2017
Karrabing Film Collective, 21:40 min

The Riot presents the genealogy of the Karrabing, an indigenous media group based in Australia’s Northern Territories that uses filmmaking and installation as a form of grassroots resistance and self-organization. A special limited online screening for the launch of the publication Living with Ghosts: Legacies of Colonialism and Fascism, including a conversation between Elizabeth A. Povinelli and Rex Edmunds, as members of Karrabing Film Collective.
Dan Perjovschi
Dan Perjovschi
Corina Oprea
Every four months, L'Internationale Online invites artists, curators or writers to react, reflect or assess specific subjects troubling the present.

From November 2019 to February 2020, Dan Perjovschi's drawings will occupy the Opinions column, using it as a space for intimately gaining perspective over the current state of the world.
On European 'Civilisation': Colonialism, Land, Lebensraum
Gurminder K. Bhambra
'A civilization that proves incapable of solving the problems it creates is a decadent civilization' – so begins Aimé Césaire's Discourse on Colonialism (1955/2000, p. 31). It is a searing critique of European 'civilisation'. Writing in the aftermath of the horrors perpetrated by the Nazi regime on European soil and drawing upon the longer histories of European colonialism across the world, Césaire argues forcefully that as the civilisation of Europe established itself on the brutalisation of others, it negated its own claim to be recognised as such.
A Conversation at Bamayak and Mabaluk, Part of the Coastal Lands of the Emmiyengal People
Elizabeth A. Povinelli and Rex Edmunds
The following conversation between Rex Edmunds and Elizabeth A. Povinelli took place at Bamayak and Mabaluk, part of the coastal lands of the Emmiyengal people. They reached this remote territory by both bushwhacking a road through the area's highland forests and swamps with a group of Karrabing; others in the group come from adjacent coastal lands. Their conversation has been translated into English from the local Creole.
On White Innocence
Gloria Wekker
Lecture by Gloria Wekker Faculty of Humanities, University of Copenhagen 9 May 2019

Let's start with a quote, an epigraph by Toni Morrison. Her words speak forcefully to me, because they offer direction for where we should be heading. She says, 'I have never lived, nor have any of us, in a world in which race did not matter. Such a world, free of racial hierarchy, is usually imagined or described as dreamscape—Edenesque, utopian, so remote are the possibilities of its achievement. (...) How to be both free and situated, how to convert a racist house into a race-specific yet non-racist home'.
Drinking from Our Own Wells Endarkened Feminist Epistemology as Praxis in a Persistent Economy of Lack
Nkule Mabaso
The basis of this presentation will draw from a current project which Nontobeko Ntombela and I are currently working on, provisionally titled The Painterly Tradition and Black Women. The project stems from Nontobeko's long-term research into feminist positions in contemporary South African art, as exemplified through her research on the historical positions of Gladys Mgudlandlu and Valerie Desmore,1 and my own projects which set out to complicate and trouble the persistent absence of black women artists.
The Uncensored Censors: How We Say 'Appropriation' Now?
Jelena Vesić
The citizens say, 'We are oppressed', but the ruler says, 'No, I am oppressed'. For that, we have his word and a Wall of Tweets as proof.

The previous decade was marked by disruptive changes in politics and media, introduced by the perhaps not entirely adequately named 'alt-right'. In such a short time, the ability of alt-right actors to manipulate (social) media grew to receive a somewhat mythical perception.
What haunts European Contemporary Politics: A Discussion with Walter Famler
Jyoti Mistry
Walter Famler is the secretary general of the Alte Schmiede Wien, a house for literature and contemporary avant-garde music, and has been on the editorial board of the literary magazine Wespennest for over three decades. He is provocative in his views of contemporary politics, often drawing from his own working-class background and experiences of growing up in Upper Austria. Famler's polemics lie in his ability to make connections across broad and seemingly disparate issues. He also has an interest in space travel and in particular the figure of Yuri Gagarin.
Towards an Anti-Fascist International: A View from Central and Eastern Europe
Kuba Szreder
As way of response to the theme of the current issue of L'Internationale Online, which explores the trajectory from colonial pasts to contemporary forms of fascism, I would like to consider two histories from the geopolitical position of Central and Eastern Europe. I wish to argue for forms of artistic internationalism which can combat recurrent fascism by envisioning and materialising democratic, equalitarian and decolonial models of alter-globality.
THE MUSEUM YET TO COME. Exercises of institutional imagination
Pablo Martínez
Presentation by Pablo Martínez at Gothenburg City Library organised by L'Internationale Online and Valand Art Academy, 21st May 2019 as part of the event Who writes the future? An evening focussing on history writing, decolonizing and intersectional practices.

Museums understood as agonist spaces are the places for all the never written stories. In two directions: re-writing the past against the grain but also activating new forms of political imagination able to defy the rationality imposed by extractivism, neo-colonialism and semiocapitalism. To do so and in order to exercise the institutional imagination I would like to call for this talk the figure of "the museum yet to come" following the figure of the "yet to come" that Cuban theorist José Esteban Muñoz .
Onåbara (Unreachable)
Aleksander Motturi
Aleksander Motturi reads an excerpt from his novel Onåbara (Unreachable), first published in September 2018.
Part of the event, Who writes the future? at Gothenburg City Library, organised by L'Internationale Online and Valand Art Academy, 21st May 2019. An evening focussing on history writing, decolonizing and intersectional practices.

Aleksander Motturi is a Swedish writer and artistic director of Clandestino Institute where independent critical, educational and artistic programs such as Victims & Martyrs (curated for Göteborgs Konsthall), Creative Writing for Newcomers (led by Hassan Blasim in Arabic), The Right to Narrate (in relation to the Swedish writer's boycott of Gothenburg Book Faire 2017), The Fire Next Time (a multidisciplinary program inspired by James Baldwin's legendary essay) have been presented.
Drinking from our own wells: endarkened feminist epistemology as praxis in a persistent economy of lack
Nkule Mabaso
Presentation by Nkule Mabaso at Gothenburg City Library organised by L'Internationale Online and Valand Art Academy, 21st May 2019 as part of the event, Who writes the future? An evening focussing on history writing, decolonizing and intersectional practices.

This presentation engages the knowledges that my collaborator Nontobeko Ntombela and myself center, and how these inform our 'theorising' and doing as black African women. This positionality takes its orientation prompted by feminist and post-colonial revisions of knowledge, in order to raise a number of questions concerning black women's history and its representation, primarily in aesthetic and experimental ways, within an expanded field of reference that is artistic practice.
Glossary of Common Knowledge- Geopolitics II
29 and 30 May 2019, Museum of Contemporary Art Metelkova (+MSUM), Ljubljana
Glossary of Common Knowledge (GCK) is a five-year research project by MG+MSUM in the frame of L'Internationale. It is curated by Zdenka Badovinac (MG+MSUM), Bojana Piškur (MG+MSUM) and Jesús Carrillo (MNCARS) in collaboration with the L'Internationale narrators and the global family narrators. This is the first seminar of the second edition of the GCK and the Geopolitics referential field is repeating from the previous edition because we feel such wide referential fields can never be fully exhausted. The first edition of the Geopolitics referential field took place in 2015.

A new group of international narrators will address their current research or artistic projects and propose terms signified by specific local environments to go beyond the dominant epistemological models in contemporary art. They will produce a multitude of voices that will explore alternative ways of making global alliances, either by drawing from historical case studies or addressing urgent sociopolitical issues.

Participants: Sara Buraya (Museo Nacional Centro de Arte Reina Sofía), Steven Ten Thije (Van Abbemuseum), Anja Isabel Schneider (M HKA), Maria Iñigo (MACBA), Meriç Öner (SALT), Kuba Szreder (Muzeum Sztuki Nowoczesnej w Warszawie), Zdenka Badovinac (MG+MSUM), Bojana Piškur (MG+MSUM), Ida Hiršenfelder (MG+MSUM), Jennifer Hayashida (Akademin Valand), Jesús Carrillo (Universidad Autónoma), Chương-Đài Võ (Asia Art Archive), María Berríos (curator), Vali Mahlouji (curator), Miran Mohar (artist), Jonas Staal (artist), Vladan Joler (Share Foundation).
Who Writes the Future?
Tuesday, 21st May 2019 18:00-20:00 At Gothenburg City Library organised by Valand Art Academy
Routinely diverse cultures and complex intersectional identities have been deliberately left out from history writing, but who now has access to formulate the future? Currently, factors such as race, gender and income are influencing this access, alongside the democratisation of cultural production through the internet. How can we think of creative writing and art production in relation to this process?
The motivation for any colonial movement can be connected to desires for the future. Liberation movements such as afrofuturism reappropriate notions of time and temporality, creating an image of the future for marginalised people which have actively been denied control of writing the future. This also entails a revealing of hidden histories, delving into already erased future histories.

Keynote speakers: Nkule Mabaso, Pablo Martínez, Aleksander Motturi, The White Pube (Gabrielle de la Puente + Zarina Muhammad)
The event is free and open to the public. The conversations will be held in English.
Jota Mombaça
NOVEMBER 20th, 2021

THE TIME HAS COME, IN WHICH THE LIGHTS OF THIS EPOCH WERE LIT EVERYWHERE. All cards are on the table, just as everything has always been in its right place. However, at last the time has come, in which on all sides there is no way to deny that the march of terror is advancing, and that the programmed apocalypse has indeed taken over the whole terrain of ordinary life.
Feminist Street: From 3 June To 8 March
María Pia López
The term "woman" is not a piece of biological information. It is a political statement: it is a term we use to refer to a group of lives beyond the historical construction of the woman gender, including lesbians, transvestites, transsexuals. The movement uses this classification, which exists within the social and discursive order to make its practical and theoretical critique.
The Eight of March When Women Said "Enough Is Enough"
Yayo Herrero
On 8 March 2018, millions of women, called upon by the feminist movement, took to the streets of cities and towns all over Spain. Many of us had additionally supported the strike called for by labour unions. It was one of those days of catharsis that we will never forget, one of those moments in which politics, bodies, and the Earth united, acquiring an unstoppable, positive, indescribable force.
Dialogues | L'Internationale
L'Internationale Dialogues
Over the past four years, L'Internationale and its partners have worked in the current unstable geopolitical and ecological constellation to activate the values of culture and international collaboration. In order to discuss four pertinent questions, L'Internationale Dialogues invites leading thinkers, artists, activists and cultural workers to address our current global predicament: Who is speaking? Representation and non-representation in (art) politics today / What is true? Populism in the era of post-truth / What needs to change? Transformations and futures of institutions, social design / Where is South? Knowledge and epistemologies of the Global South.
Project | The Museo Nacional Centro de Arte Reina Sofía (MNCARS)
Mário Pedrosa. On the Affective Nature of Form
Mário Pedrosa (Pernambuco, 1900 - Río de Janeiro, 1981) was one of the foremost 20th-century Brazilian and Latin American thinkers. Pedrosa embodied the paradigm of the public intellectual committed to the debate over the future of society, both politically and culturally, and was a spokesperson in the forming of Brazil's modern culture. In this exhibition a selection works by artists who Pedrosa analysed articulates different plastic fields to afford a view of the subject matter he was concerned with. Co-curated by Gabriel Pérez-Barreiro and Michelle Sommer.
A New Feminist Wave?
María Eugenia Rodríguez Palop
A phantom is making her way across Europe. We call her comrade. The fluttering of a butterfly's wings is making itself felt all over the world, multiplying like an echo.
Defiance of Amphibians: Neology as an Act of Alienation
Sarp Özer
New words – authored or anonymous – emerge at times when it is not possible to address a certain phenomenon with the lexical representations available in a given language. Linguistic efficiency or representational capacity thus depend on time and practice, as lexicology does not operate on the basis of trial and error. Neology or wordsmithing enable languages to expand their representational capacity into the present and the future.
A Few Notes On A Time Of Uncertainties
Merve Bedir
Many of us 'in peace' have displayed our empathy for many of those 'in war' through charity. It is as if they are better away from our sight but still at our mercy – certainly most of us simply don't want them 'at home'. Most of us don't actually feel responsible for what has been happening, at most we feel guilty. In our conversation, remembering his university times in Sofia, Walid Kowatlı referred to the Bulgarians' Slavic Orthodox feeling of collective guilt, which is, for him, maybe the closest to responsibility. This was also an explanation as to why the Bulgarians didn't betray the Jewish people who were hiding from the Nazis in Bulgaria during the Second World War... Indeed, guilt seems to be another element in the infrastructure of our pain, but what is the difference between guilt and responsibility?
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Why Equality is of Critical Importance to Re-Politicise Feminism in the twenty-first Century
Fatma Arikoglu
Feminism does not exist. There are at least a dozen different feminisms. Even the right and radical right wing has appropriated feminism. Within this appropriation, the feminism could become a-political. The thought that feminism is something of the left and the right. This article argues that it is crucial to understand the inherent political nature of feminism and how intersectional feminism necessarily is or at least should be connected to the principle of equality, justice and equal rights.
Objects/Subjects in Exile. A conversation between Wayne Modest, Bonaventure Soh Bejeng Ndikung, and Margareta von Oswald
Wayne Modest, Margareta von Oswald, Bonaventure Soh Bejeng Ndikung
This conversations has been initiated in order to find a different approach to the notions of crisis and migration – through the perspective of objects, more particularly, the so-called ethnographic objects categorised as "non-European", and thus as "foreign". As it happened in response to the recent arrival of refugees in Europe, the heated debates around ethnological museums have re-drawn lines between "us" and "them". In both contexts, notions of difference and questions about who and what can be defined as "Western" or "European" reappear. It is therefore pertinent and urgent to ask: what does/can constitute a common "we"? Who is included and excluded from this common denominator, and on what bases? To what extent could it even be productive to think of objects as migrants in exile, and thus to think of "object diasporas", as the archaeologist Paul Basu did?
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Practice Intersectionality*
Nataša Petrešin-Bachelez
In the late capitalist societies of the Global North, there exists many cultural recuperations of the legacy of the empowering Second Wave feminism and their struggle for the liberation of all women. Corporate and/ or state feminism is present in many organisations, companies and on the level of entire countries. Could the method of intersectionality be incorporated as a way of living and looking at the world in daily practices and systems, and not only as theoretical discourses?
Inner Edges and Borders of Culture
Mojca Kumerdej
According to Sigmund Freud, in his Civilization and its Discontents, the civilization that distinguishes our lives from those of our animal ancestors and serves two purposes – to protect man from nature and to adjust his mutual relations – does not make us feel comfortable. The entry into and becoming through culture and the discontent embodied in it is also examined in the work of Slovenian intermedia artist Maja Smrekar.
Feminism, Survival and the Arts in Ireland
Sarah Browne
At the time of writing, we are a month away from a referendum in Ireland on the Eighth Amendment to our Constitution, and it is difficult to imagine any conversation about art and feminism here that does not depart from the immediate urgency of this point.
From Exceptions to Region in Pearl River Delta - Part III
Merve Bedir
The problem with the planning of a 'region' as an agglomeration of exceptional territories instead of considering what makes it a region in the first place, is that this consideration misses the significance of the geography that the river defines, such as the distinct ecologies, the different groups of citizens and peoples, the flora and fauna, alongside the definitions related to (economic) borders, territories, and sovereignty.
Project | Van Abbemuseum
Demodernising the Collection
The Van Abbemuseum, together with its partners in the European museum confederation L'Internationale, opens a new three-year programme that sets out to demodernise the museum and its collection. The opening is marked by three days of debate, workshops and celebration. Thought of in conjunction with the need to decolonise, the demodern approach aims to undo the modern museums' focus on exclusivity, autonomy and separation, seeking to facilitate substantial re-readings of the modern canon combined with new user-driven programming. It includes the presentations of researchers within the programme Deviant Researching and the symposium Collections in Transition: Decolonising, Demodernising and Decentralising?.
Data Visualisation on Artists' Migrations. Research in Progress
Christiane Berndes, Joost Grootens
Mapping Collections is a data visualisation, initiated by L'Internationale as a tool in progress. It is based on data about the migrations of artists, represented in the collections of L'Internationale partners. The information is based on data from the different collection information systems of the partners, complemented with research on a selected group of individual artists. To contextualise their movements, we created a timeline with important or influential historical events. This historical timeline is given to complement the artists' biographies and speculate on their possible reasons for migrations, whether it is political, economic or personal.
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Subjects and Objects in Exile
The editorial board began discussing this e-publication in the aftermath of summer 2015. The decision to put together this fifth edition, titled Subjects and Objects in Exile, was prompted by the many tragic displacements, fates and deaths of those seeking asylum in Europe and elsewhere. These enforced mass exiles are the result of civil wars in Syria, Iraq and Afghanistan. The appalling and dehumanising management by European powers is having worrying economic, cultural, political and juridical implications. In this publication, we would like to address what has come to be called, not un-problematically we would argue, the European "refugee crisis". We do so in the shadow of recent and ongoing terrorist attacks, rising nationalism and Britain's imminent notification to leave the European Union.
Opinion | Amy Franceschini, Futurefarmers
Bruegel Awakens
Amy Franceschini of Futurefarmers is writing her blog during Seed Journey, a seafaring voyage connected to a public art project in the former port of Bjørvika in Oslo, Norway. Seed Journey moves people, ideas and seeds through time and space. Recordings for the Birds is a collection of stories gathered during Seed Journey which serves as a means of documentation – one that mirrors the slowness of our wind-powered vessel and the long march of domestication of plants through trial and error.
Opinion | Denisa Tomkova
What does it mean when the centre becomes extreme?
In a new series of blogs, Denisa Tomkova writes about The Extreme Centre, the symposium organised by the Academy of Art in Cologne, Germany, (18th-19th April 2017). The symposium asked whether a new fascism is imminent with the mainstream entry of right-wing nationalist positions, or if different variations of fascism spread themselves out in a diversity of national nuances.
Project | MG+MSUM
The Heritage of 1989. Case Study: The Second Yugoslav Documents Exhibition
The Heritage of 1989 / Case Study: The Second Yugoslav Documents presents a re-enactment of the last big art exhibition in Yugoslavia. Titled Yugoslav Documents '89, it was curated by the artists Jusuf Hadžifejzović and Rade Tadić and realized in the Skenderija Center in Sarajevo in 1989. The project focuses on the largest of the exhibitions that include the adjective "Yugoslav" in their titles. It attempts to reconsider the idea of the commons from the vantage point of it being something inherently conflicted that in the time of socialist Yugoslavia, in an atmosphere of multiculturalism and collectivity, nonetheless stimulated the ability of social connectivity and solidarity.
Curated by: Zdenka Badovinac and Bojana Piškur
Project | Van Abbemuseum
The Making of Modern Art
Between 2017 and 2020 the Van Abbemuseum organises a series of collections exhibitions and projects. The exhibition The Making of Modern Art situated at the ground floor of the collection building - developed in cooperation with the Museum of American Art, Berlin - is part of this series. This exhibition combines modern master pieces from the Van Abbe collection, like Mondrian, Picasso, Sol LeWitt, Kandinsky and Leger, with an experimental story, which tells the 'making of' of the classical canon of modern art.
Curated by Christiane Berndes, Charles Esche and Steven ten Thije.
Project | MACBA
Forensic Architecture. Towards an Investigative Aesthetics
In recent years the research group Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. While providing crucial evidence for international courts and working with a wide range of activist groups, NGOs, Amnesty International and the UN, Forensic Architecture has not only shed new light on human rights violations and state crimes across the globe, it has also given rise to a new form of investigative practice, to which it has given its name. The group uses architecture as a methodological device with which to investigate armed conflicts and environmental destruction. This exhibition introduces the practice, outlining its origins, history, assumptions, potential and double binds. Curated by Rosario Güiraldes with Eyal Weizman, Anselm Franke and Christina Varvia.
Project | M HKA
A Temporary Futures Institute
A Temporary Futures Institute will attempt to turn the museum into a laboratory or studio, and to bring together two contexts that have certain things in common: art and futures studies (also known as foresight). The initial impulse was to compare their two speculative domains. In art, the concept and practice of knowing is always contested: sometimes under-rated, sometimes over-rated, often in conflict with thinking and feeling. In futures studies, the desired object of knowledge – the various futures that might be – is per definition always absent, because it doesn't yet exist.
Co-organised by Anders Kreuger and Maya Van Leemput.
Project | SALT
The Uses of Art: Final Exhibition
SALT's final L'Internationale exhibition attempts to provoke original responses and readings from its users of what SALT Galata, as a cultural entity, is or could be. Four artistic interventions/architectural gestures -by Abbas Akhavan, Refik Anadol, Futurefarmers, and Laure Prouvost- embrace the user through their reinvigoration of previously under-used aspects of the building and its resources, such as the archive, bringing to the foreground suggestions of different potential functions or possibilities that temporarily reframe the institution.
The Mediterranean: A New Imaginary
Adrian Lahound
The climate may well remain operative in writing Mediterranean history, but when that climate becomes man-made, what kinds of consequences does it hold for historical narration? The problem that organises today's Mediterranean is of a different order, an order of superimposition and conflation. It is a problem that binds together the consequences of Western industrialisation, global carbon emissions, aerosol dispersion patterns, sea surface temperatures, monsoons, precipitation, pastoralists, herders, farmers, cultivars, migratory routes, treaties, coast guards, statistical models, satellite imagery, and detention centres.
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Şam'da Kayısı
Atıf Akın, Dilek Winchester
In 2015 Dilek Winchester teamed up with one of the original contributors, Atif Akın, to collaborate on a new zine and an exhibition program that was presented at SALT Galata in Istanbul and later at SALT Ulus in Ankara between 2015 and 2016. The title of this collaborative project, Apricots from Damascus, is translated from the Turkish "Şam'da Kayısı" that forms part of an idiomatic expression meaning "It doesn't get any better than this." The zines were printed in Arabic, English and Turkish. Apricots from Damascus took place as an apexart franchise exhibition in collaboration with SALT. A selection of the zines, namely those by Atıf Akın, Nadia Al Issa, Hera Büyüktaşçıyan and Dilek Winchester, Khaled Barakeh and Pınar Öğrenci, that most closely relate to the themes of this e-pubication are reproduced here.
Apricots from Damascus
Atıf Akın, Dilek Winchester
In 2015 Dilek Winchester teamed up with one of the original contributors, Atif Akın, to collaborate on a new zine and an exhibition program that was presented at SALT Galata in Istanbul and later at SALT Ulus in Ankara between 2015 and 2016. The title of this collaborative project, Apricots from Damascus, is translated from the Turkish "Şam'da Kayısı" that forms part of an idiomatic expression meaning "It doesn't get any better than this." The zines were printed in Arabic, English and Turkish. Apricots from Damascus took place as an apexart franchise exhibition in collaboration with SALT. A selection of the zines, namely those by Atıf Akın, Nadia Al Issa, Hera Büyüktaşçıyan and Dilek Winchester, Khaled Barakeh and Pınar Öğrenci, that most closely relate to the themes of this e-pubication are reproduced here.
Apricots from Damascus
Atıf Akın, Dilek Winchester
In 2015 Dilek Winchester teamed up with one of the original contributors, Atif Akın, to collaborate on a new zine and an exhibition program that was presented at SALT Galata in Istanbul and later at SALT Ulus in Ankara between 2015 and 2016. The title of this collaborative project, Apricots from Damascus, is translated from the Turkish "Şam'da Kayısı" that forms part of an idiomatic expression meaning "It doesn't get any better than this." The zines were printed in Arabic, English and Turkish. Apricots from Damascus took place as an apexart franchise exhibition in collaboration with SALT. A selection of the zines, namely those by Atıf Akın, Nadia Al Issa, Hera Büyüktaşçıyan and Dilek Winchester, Khaled Barakeh and Pınar Öğrenci, that most closely relate to the themes of this e-pubication are reproduced here.
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The "Refugee Crisis" and the Current Predicament of the Liberal State
Denise Ferreira da Silva
What we find in the global present, in the nationalist challenges to the liberal states that find excuses in the recent "refugee crisis", is how raciality (racial difference and cultural difference) function as an ethical device – which checked the universality attributed to the human being and law. It enables the collapse of the administration of justice into law enforcement (with distinct levels of lethality) – when its tools are deployed to write the global/ racial subaltern as an affectable I, or as a modern subject that thrives in violence.
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Škart Maps
Đorđe Balmazović
In 2013, Group 484 invited several associates, artists, to work with asylum seekers in an asylum centre near the village Bogovađa, in the vicinity of Valjevo in Serbia. Several years before, Group 484 had collaborated with that asylum centre and others in many ways. The idea was to expand cooperation and introduce different research methods by working with asylum seekers thus developing new contents in their everyday life. Twenty nine of asylum seekers were asked why they had embarked on such a journey, what troubles they had survived, how they had crossed the borders, how much they had paid the smugglers, about their experience with the police, with the people in the countries they had passed through. Together with them, the artists sketched their answers in the form of maps, in order to piece together their routes, which in some cases lasted up to seven years.
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Brexit, New Nationalism, and the New Politics of Migrancy
John Byrne
The role, function, ideological position and real legal (or illegal) status of migrancy has again come under closer scrutiny and the possibility of multiple abuse and/or reuse. Far from a simple noun to denote the positive neoliberal condition of human movement, or a verb to identify the action of this desired movement, migrancy has become, once again, a contradictory symbol of our status, fragility, precarity and provisionality under the present conditions of globalised capital, emergent nationalism and the overt shift towards government as business.
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The Shame and Misery of Liberal Democracy: Europe and Migration Flows
Carlos Prieto del Campo
The excess (of the exploitation) is now the normality (of the dispossession and subalternisation). Today the dystopia of capitalism is the barbaric medicine against revolution. Only the constituent power of dominated classes and subaltern groups have, for short periods, tipped the balance of this democratic-liberal logic of poverty and annihilation, albeit at the immense and phantasmic costs of repression, war and misery. The world's misery is the misery of liberal democracy, now called the European Union in Europe. Today the world's wealth is the constituent power of its migrant, impoverished and excluded populations.
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Interview with Oliver Ressler
Oliver Ressler, November Paynter
Borders have become tools for managing, governing and calibrating the movement of people and of course of goods and other things as well. Borders can be imagined as a kind of membrane that lets certain movement through and blocks others. Their fictive nature, rather like the fictive nature of nations, does not make them less real in their effects. Borders are a central element in configuring the capitalist world, through the creation of zones with different modes of labour, different kinds of exploitation and different forms of consumption.
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Solidarity in Arts and Culture. Some cases from the Non-Aligned Movement
Bojana Piškur
Words like solidarity, fraternity, equality, peace, and fight against imperialism, colonialism, and apartheid resonated at the Non-Aligned Movement's summits, at UNESCO seminars on culture, at political rallies around the world, in museums. It seemed as though art and politics were united in their quest to create utopian models adapted to social and political changes. It is no coincidence that experimental museology and concepts such as the integrated museum, the social museum, the living museum, and the museum of the workers were widely discussed in the so-called Global South.
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What's the Use?
Is art only art insofar as it refuses to be useful? Or can art practices serve a wider purpose in the world? The reader "What's the Use? Constellations of Art, History, and Knowledge" starts from the premise that art is an integral part of the social, economic, and political process. Art is best understood through its dialogue with the social sphere, rather than as a 'thing in itself'. By mapping a diverse terrain of examples and ideas, this book explores the complex interplay between art, use, history, and knowledge. The contributing writers and artists demonstrate how in past and contemporary practice these relationships are set up and played out. Editors: Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije.
Opinion | African Art History and the Formation of a Modern Aesthetic
In this blog, collaborators of the project African Art History and the Formation of a Modern Aesthetic examine collections of African Modernisms that are housed in museum and university collections and look at past, present and future connections between them. The three collections are at the Iwalewahaus at the University of Bayreuth, the Weltkulturen Museum in Frankfurt a. M. and the Makerere Art Gallery/Institute of Heritage Conservation and Restoration (IHCR) in Kampala (Uganda).
Glossary of Common Knowledge | MG+MSUM
Palimpsest | Commons
For the referential field Commons of the Glossary of Common Knowledge taking place at MG+MSUM the narrator pantxo ramas proposed a term "palimpsest": "In Trieste writing on the walls become a practice for claiming an appropriation of public space, a political voice that is composed through a palimpsest of walls, and floors, and letter boxes, throughout the city. [...] Palimpsest is the explosion in the public space and another practice of commonality, one typical of the interns of total institution. In the inscription, accumulation and overlapping of words on a wall, a conversation emerges between the one interned now, the one that was here before, and the one that will be here again after you; this silent conversation allows the inmate to become a living agent in and against the endless and identical objectivation of confinement, imposed by the institution."
Ecologising Museums
The e-publication Ecologising Museums explores how museums and cultural institutions can face the issue not only head-on, but from all angles. To what degree are the core activities of collecting, preserving and presenting in fact attitudes that embody an unsustainable view of the world and the relationship between man and nature?
Decolonising Archives
The e-publication Decolonising Archives aims to show how archives bear testimony to what was, even more so than collections. Archives present documents that allow one to understand what happened and in which order. Today Internet technology, combined with rapid moves made on the geopolitical chessboard, make archives a contested site of affirmation, recognition and denial.
Opinion | L'Internationale Online
Tearing Down Bridges – Turkey's Withdrawal from Creative Europe
In September 2016, the Turkish government unilaterally withdrew from the European Union Creative Europe programme – the programme that funds artistic production and exchange – without articulating why. This act in the light of the recent changes in Turkey may be small, yet it marks a further deepening of the bleak situation in the country. The harsh application of the state of emergency makes it increasingly impossible to have constructive cultural dialogue both inside Turkey and between Turkey and the rest of the world.

L'Internationale Online is the common platform for research, debate and communication for the confederation L'Internationale. It is a space where commissioned texts, research and artistic projects, online curatorial projects and exhibitions drawing from the confederative work on the collections and archives of the members' institutions, will be published.

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