Mattin: Social Dissonance

We are not what we think we are. Our self-image as natural individuated subjects is determined behind our backs: historically by political forces, cognitively by the language we use, and neurologically by sub-personal mechanisms, as revealed by scientific and philosophical analyses.

Under contemporary capitalism, as the gap between this self-image and reality becomes an ever greater source of social and mental distress, these theoretical insights are potential dynamite. Shifting his explorations from the sonic to the social, amplifying alienation and playing with psychic noise, artist and performer Mattin finally lights the fuse.

The noise is here to stay. Alienation is a constitutive part of subjectivity and an enabling condition for exploring social dissonance—the territory upon which we already find ourselves, the condition we inhabit today.

Mattin speaks (and sings) to Pierre d’Alancaisez about his performance score Social Dissonance, in which the audience is the instrument and the legacy of the Marxist theory of alienation.

Mattin is an artist, musician and theorist working conceptually with noise and improvisation. Through his practice and writing, he explores performative forms of estrangement as a way to deal with structural alienation. Mattin has exhibited and toured worldwide.

He has performed in festivals such as Performa and Club Transmediale and lectured in institutions such as Dutch Art Institute, Cal Arts, Bard, and Goldsmiths. Mattin is part of the bands Billy Bao and Regler and has over 100 releases on different labels worldwide. He co-hosts the podcast Social Discipline. Mattin took part in 2017 in documenta14 in Athens and Kassel. 

Kuba Szreder: The ABC of the Projectariat

The ABC of the Projectariat 
Living and working in a precarious art world

Kuba Szreder

Published by Manchester University Press, 2021
ISBN 9781526161321

Labour has taken an about-turn. From Adam Smith’s proposal for specialisation which saw the factory line reorganised so that each worker needed to understand only a small aspect of the production process, many industries now rely on access to specialised skills and resources that are commanded at-hoc in discrete, time- and output-bound chunks.

This is the logic of projects. The workforce no longer dedicates itself to the making of a singular commodity, as it was the case with Smith, but bids for discrete pieces of work when those are in demand. In some industries, for example, in the art world, the workforce is also charged with building the demand for their work by initiating the project which would then employ them.    

The ABC of the Projectariat by Kuba Szreder contributes new thinking on and practical responses to the widespread problem of precarious labour in contemporary art. It is both a critical analysis and a practical handbook, speaking to and about the vast cohort of artistic freelancers worldwide. Kuba Szreder speaks to Pierre d’Alancaisez about the artistic project, and the effects of projectarisation on workers’ solidarity, communal governance, and the precarity of artistic activity.

Kuba Szreder is a lecturer in the department of art theory at the Academy of Fine Arts in Warsaw. He combines his research with independent curatorial practice. His previous publications include Joy Forever: Political Economy of Social Creativity (2011) and Art Factory: Division of Labor and Distribution of Resources in the Field of Contemporary Art in Poland (2014). In 2018, together with Kathrin Böhm, he initiated Centre for Plausible Economies, a cluster devoted to reimagining economies of contemporary art and using artistic imagination to redraw the economy at large.

Joshua Citarella: Politigram and the Post-Left

Politigram and the Post-Left

Joshua Citarella

Published by Blurb, 2021
ISBN 9781006610196

The internet’s potential to perform political miracles has been a source of both hope and disappointment for many grassroots movements. We remember that the Sanders campaign tried to master the meme to mobilise a young, eager audience. Equally, we ascribe Trump’s electoral victory in 2016 to seemingly leaderless internet misinformation.

Many of such events have been the subject of academic study – but research is often slow to keep up with the rapidly changing scene. If a researcher tracing the role of the meme to the politicisation and radicalisation of online communities struggles to keep up what hope does an artist have? 

Joshua Citarella’s practice starts with the understanding that it is impossible to predict what the next generation of meme posters will be interested in and whether their memes will reach beyond their tiny echo chambers. What is clear is that mainstream politics, particularly the politics of the left, remains afraid of these unruly communities that can just as easily turn to the dark corners of the demonised alt-right as they are to carry the flag for Bernie.

Joshua Citarella speaks to Pierre d’Alancaisez about researching internet subcultures, playing politics with the extremely online, the multiple meanings of radicalisation, strategies for subverting right-wing content, and the role of art in internet political aesthetics.

Joshua Citarella is an artist, content creator, and researcher. Politigram and the Post-left is one of many projects he has released through self-publishing channels and directly to his supporters.

David Swift: The Identity Myth

The Identity Myth
Why We Need to Embrace Our Differences to Beat Inequality

David Swift

Published by Constable, 2022
ISBN 9780349135366

In conversations about polarised political issues, phrases like ‘it’s not about race, it’s about class’ have become the perfect way to induce a stalemate. It seems as though the traditional, materialist critique of inequality has been supplanted by a fast-evolving set of reflections on group identity. Mainstream politics makes fast and loose assumptions about the relationship between class and identity, and economic conditions and culture. These assumptions are fodder for the culture wars.

In The Identity Myth, David Swift covers the four different kinds of identity most susceptible to rhetorical and cultural manipulation – class, race, sex, and age. He considers how the boundaries of identities are policed and how diverse versions of the same identity can be deployed to different ends. Ultimately, it is not that identities are simply more ‘complex’ than they appear. Rather, there are commonalities more important to the creation of solidarity.

David Swift speaks to Pierre d’Alancaisez about the crisis of class and the deceptive allure of identity politics. We talk about the divisive nature of the contested claims of identity and about strategies for regaining control of the narrative. In a powerful call to arms, Swift argues that we must unite against these identity myths and embrace our differences to beat inequality.

David Swift is a historian and writer who specialises in the history and contemporary politics of the British Left. He has written on the state of the Left for The Times, Fabian Review, Progress OnlineJewish Chronicle, and The Critic. He is the author of A Left for Itself, 2019.

Mike Watson: The Memeing of Mark Fisher

The Memeing of Mark Fisher 
How the Frankfurt School Foresaw Capitalist Realism and What to Do About It

Mike Watson

Published by Zer0Books, 2021
ISBN 9781789049336

Through his blog K-Punk, Mark Fisher become one of the cult figures of cultural theory after the economic crash of 2008. One of Fisher’s insights, widely taken up by the online memesphere, was that capitalism breeds depression. Mike Watson picks up Fisher’s prognosis when the locked-down pandemic world is mired in a depression that is economic and psychological, and no doubt exacerbated by the transfer of culture and life online.

In the aftermath, The Memeing of Mark Fisher revisits the Frankfurt School theorists who worked in the shadow of World War Two, during the rise of the culture industry. In examining their thoughts and drawing parallels with Fisher’s Capitalist Realism, Watson aims to render the Frankfurt School as an incisive theoretical toolbox for the post-Covid digital age.

Taking in the phenomena of QAnon, twitch streaming, and memes, Watson argues that the dichotomy between culture and political praxis is a false one. As more people have access to the means for theoretical and critical engagement online, he urges the online left to build a real-life cultural and political movement.

Mike Watson speaks to Pierre d’Alancaisez about Mark Fisher’s legacy in critical online spaces, the democracy of memes and their aesthetic warfare, the Acid Left, and how the Frankfurt School thinkers foreshadowed our current moment.

Mike Watson is a theorist, critic and curator who is principally focused on the relationship between culture, new media and politics. He hosts the podcast Theorywave Nights.

Georgina Adam, Nizan Shaked: The problem with museums

The Rise and Rise of the Private Art Museum

Georgina Adam

Published by Lund Humphries, 2021
ISBN 9781848223844

Museums and Wealth
The Politics of Contemporary Art Collections

Nizan Shaked

Published by Bloomsbury, 2022
ISBN 9781350045767

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Place or the oxycontin scandal have forced changes to the governance of some of the world’s best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe.

Nizan Shaked’s Museums and Wealth is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust’ on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets.

In The Rise and Rise of the Private Art Museum, Georgina Adam tracks the phenomenon of the collector’s museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic.

Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d’Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private.

Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom.

Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art.

David Maroto: The Artist’s Novel

The Artist’s Novel
A New Medium
The Fantasy of the Novel

David Maroto

Published by Mousse, 2020
ISBN 9788867494224, 9788867494255

For better or worse, artists write. But why would a visual artist write a novel? How should such a novel be experienced? How does the artist’s novel compare or compete with literary fiction as we know it?

David Maroto, the author of The Artist’s Novel considers the proliferation of artists writing novels as a sign of the emergence of a new medium. Artists engaging in this new medium do so in order to address artistic issues by means of novelistic devices, favouring a sort of art predicated on process and subjectivity, introducing notions such as fiction, narrative, and imagination. Maroto’s work is the first to explore the subject of the artist’s novel in depth.

David Maroto speaks to Pierre d’Alancaisez about the artist’s novel and the demands it makes on its readers and, as he found out through his own practice, on its curators and publishers. David reads from Benjamin Seror’s Mime Radio and voices the mythical satyr Marsyas but, sadly, stops short of singing.

David Maroto is a visual artist, researcher, writer, and curator based in Rotterdam.

Abigail Susik: Surrealist Sabotage and the War on Work

According to the definition offered by Tate on the occasion of the exhibition Surrealism Without Borders, Surrealism “aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams.” Surrealism, therefore, produces images and artefacts that are rooted outside the real and that evade rational description.

For many artists, however, the practice of Surrealist art took on an explicitly political and therefore practical dimensions. In Surrealist Sabotage and the War on Work, art historian Abigail Susik argues that many Surrealists tried to transform the work of art into a form of unmanageable anti-work.

Abigail Susik speaks with Pierre d’Alancaisez about what the politics of work meant to the early French Surrealists, the ambiguous labour practices of artists like Simone Breton, and the imagery of typewriters and sewing machines that permeates the work of artists such as Oscar Domínguez. She brings these questions into the present by engaging with the work of the Chicago Surrealists of the 1960s and 70s.

Abigail Susik is Associate Professor of Art History at Willamette University and co-editor of Surrealism and film after 1945.

Julian Stallabrass: Killing for Show

Killing for Show 
Photography, War, and the Media in Vietnam and Iraq

Julian Stallabrass

Published by Rowman & Littlefield, 2020
ISBN 9781538141809

In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck that may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show.

Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In this fully illustrated and passionately argued account of war imagery, Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. Through accounts of events such as My Lai massacre, the violent suppression of insurgent Fallujah, or the atrocities in Abu Ghraib, Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. 

Julian Stallabrass talks to Pierre d’Alancaisez about the inescapable complicity of photography and media in warfare, the technical and social evolution of images as lethal weapons, and their changing role as witnesses or propaganda documents.

Julian Stallabrass is an art historian, photographer, curator, and professor at the Courtauld Institute of Art.

Keller Easterling: Medium Design

Medium Design 
Knowing How to Work on the World

Keller Easterling

Published by Verso, 2020
ISBN 9781788739320

How do we formulate alternative approaches to the world’s unresponsive or intractable dilemmas, from climate change, to inequality, to concentrations of authoritarian power? Keller Easterling argues that the search for singular solutions is a mistake. Instead, she offers the perspective of medium design, one that considers not only separate objects, ideas and events but also the space between them. This background matrix with all its latent potentials is profoundly underexploited in a culture that is good at naming things but not so good at seeing how they connect and interact.

In case studies dealing with everything from automation and migration to explosive urban growth and atmospheric changes, Medium Design looks not to new technologies for innovation but rather to sophisticated relationships between emergent and incumbent technologies. It does not try to eliminate problems but rather put them together in productive combinations. And it offers forms of activism for modulating power and temperament in organisations of all kinds.

Keller Easterling speaks to Pierre d’Alancaisez about thinking in a world where ‘nothing works’, the paradoxical possibilities for solving concurrent problems, and the chances of winning games rigged by the Superbug.

Keller Easterling is a designer, writer, and the Enid Storm Dwyer Professor of Architecture at Yale. She is the author of  Extrastatecraft: The Power of Infrastructure Space (Verso, 2014) and numerous other books and articles. Easterling was a 2019 United States Artist Fellow in Architecture and Design, and the recipient of the 2019 Blueprint Award for Critical Thinking.

Nina Power: What Do Men Want?

What Do Men Want? 
Masculinity and Its Discontents

Nina Power

Published by Penguin/Allen Lane, 2022
ISBN 9780241356500

Something is definitely up with men. From millions online who engage with the manosphere to the #metoo backlash, from Men’s Rights activists and incels to spiralling suicide rates, it’s easy to see that, while men still rule the world, masculinity is in crisis. Feminism has gone some way towards dismantling the patriarchy, but how can we hold on to the best aspects of our metaphorical Father? 

Nina Power speaks to Pierre d’Alancaisez about the challenge of accepting biological differences and the potential for men and women living well in a world where capitalism has replaced the values – family, religion, service, and honour – that used to give our lives meaning.

Nina Power is a philosopher, critic, and cultural theorist. She is the author of One Dimensional Woman, a co-host of The Lack, and she publishes a newsletter on Substack.

Grant Tavinor: The Aesthetics of Virtual Reality

The Aesthetics of Virtual Reality

Grant Tavinor

Published by Routledge, 2021
ISBN 9780367619251

When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of the “real” world.

Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved.

But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve.

This is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography.

Grant Tavinor speaks to Pierre d’Alancaisez about some of the fundamental features of virtual reality, the implications of working in a picturing medium, as well as the challenges that VR poses to the philosophy of the arts and ethics.

Grant Tavinor is Senior Lecturer in Philosophy at Lincoln University, New Zealand. He has published widely on the aesthetics of videogames, virtual worlds, digital media ethics, and the philosophy of technology.

Michael Newall: A Philosophy of the Art School

A Philosophy of the Art School

Michael Newall

Published by Routledge, 2021
ISBN 9781032094342

If one were to devise a motto for the art school of today, the choice between ‘you too are an artist’ and ‘abandon all hope you who enter here’ would be difficult. Despite significant changes in mainstream art education in recent decades, many anglophone art schools have not abandoned the principal tools of the masterclass or the crit that stem from some stubborn 18th-century ideas and the belief that creativity is the preserve of the artistic genius. Considering these histories can shed light on the role of the art school in the 21st century.

Research on art schools has been largely occupied with the facts of particular schools and teachers. Michael Newall’s book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The book draws on first-hand accounts of art school teaching and is deeply informed by disciplines ranging from art history and art theory to the philosophy of art, education and creativity.

Michael Newall speaks to Pierre d’Alancaisez about the masterclass and the crit, the pervasive idea of the Romantic genius, creative disagreements with Kant, and the lessons for the future that a historical perspective may offer.

Michael Newall is a programme leader in art and philosophy at the University of Kent.

Anna Watkins Fisher: The Play in the System

The Play in the System
The Art of Parasitical Resistance

Anna Watkins Fisher

Published by Duke University Press, 2021
ISBN 9781478009702

What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System, Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism, a tactic of complicity that effect subversion from within hegemonic structures.

Anna Watkins Fisher speaks to Pierre d’Alancaisez about the underhand tactics of the parasite – artists like the collective Ubermorgen, Núria Güell, the writer Chris Krauss, or Roisin Byrne – by which it appropriates the logic of their hosts – Amazon, the Spanish State, Dick, and in the case of Byrne, Watkins Fisher herself.

Anna Watkins Fisher is a cultural and media theorist whose research spans the fields of digital studies, performance studies, visual culture, environmental humanities, and critical theory. She is an associate professor in the Department of American Culture at the University of Michigan, Ann Arbor.

The Play in the System is available as an open-source download.

Kim Charnley: Sociopolitical Aesthetics

Sociopolitical Aesthetics 
Art, Crisis and Neoliberalism

Kim Charnley

Published by Bloomsbury, 2021
ISBN 9781350008748

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley’s Sociopolitical Aesthetics traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis.

Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy.

Kim Charnley speaks to Pierre d’Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s.

Dr Kim Charnley is an art historian and theorist at the Open University.

The works we discuss:

Adam Lehrer: Communions

Artists from Kurt Cobain to Amy Winehouse command fascination not only for their work but also for their drug addictions and the manner of their death. Communions is an attempt to understand the role that opiates play in the artistic lives of those who are gripped by addiction.  

Channeling hallucinated versions of dead artists and junkies, these fragments access the uncanny allure of shared experience. Elements of speculative fiction, criticism and encrypted auto-biography merge to form a disconcerting portrait of the artist as addict. Neither denunciation nor valorisation, Communions probes the haunting singularity of opiate addiction and its ineradicable influence on art and culture.

Adam Lehrer speaks to Pierre d’Alancaisez about addiction and class, our fetish for the artist flirting with death, communing with his heroes, his experience of the opioid crisis, and the role for art criticism in unraveling all these issues.
Lehrer reads a chapter on Darby Crash from Communions.

Adam Lehrer is a writer and art critic, but he’s also a former heroin addict himself. He blogs at Safety Propaganda.

Alana Jelinek: Between Discipline and a Hard Place

Between Discipline and a Hard Place
The Value of Contemporary Art

Alana Jelinek

Published by Bloomsbury, 2020
ISBN 9781350100473

Some fields have an easier time describing themselves than others. “History is the study of past events.” “Biology is the study of living organisms.” But art? Is art a discipline? Is it a practice? Who gets to answer this most fundamental of questions, and why do we prefer not to try? Between Discipline and a Hard Place, written from the perspective of a practising artist, proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is.

Between Discipline and a Hard Place is a passionate treatise arguing for a new way of understanding art that forefronts the role of the artist and the importance of inclusion within both the concept of art and the art world.

Alana Jelinek speaks to Pierre d’Alancaisez about a disciplined and disciplinary approach to thinking about art and its value outside the current preoccupation with economic considerations and the great potential of interdisciplinary working.

Alana Jelinek is an artist and a researcher at the University of Hertfordshire.

Hannah Wohl: Bound by Creativity

Bound by Creativity

Bound by Creativity
How Contemporary Art is Created and Judged

Hannah Wohl

Published by University of Chicago Press, 2021
ISBN 9780226784694

Bound by Creativity

What is creativity? While our traditional view of creative work might lead us to think of artists as solitary visionaries, the creative process is profoundly influenced by social interactions even when artists work alone.

Hannah Wohl speaks with Pierre d’Alancaisez about Bound by Creativity, her ethnographic study of the New York contemporary art scene that reveals how artists develop conceptions of their distinctive creative visions through experimentation and social interactions and how aesthetic judgment evolves between artist studios, galleries, art fairs, and collectors’ houses.

We mention Paula Cooper Gallery and the work of artists Lucky DeBellevue and Gina Beavers. The Armory Show takes place in NY in early September 2021.

Hannah Wohl is an assistant professor in sociology at University of California, Santa Barbara.

Patricia Bickers: The Ends of Art Criticism

Crisis? What Crisis? At a time where there are repeated claims of the impending demise of art criticism, The Ends of Art Criticism  dispel these myths by arguing that the lack of a single dominant voice in criticism is not, as some believe, a weakness, but a strength, allowing previously marginalised voices and new global and political perspectives to come to the fore.

Patricia Bickers speaks with Pierre d’Alancaisez about her time as the editor of Art Monthly, the changing role of art criticism, the politics of speaking and writing about art, the art school, the relationship between artists and critics, the academicisation of critical discourse, the relationship between art history and criticism, and.. the art of the interview.

Some of the works mentioned in the conversation:

Frans-Willem Korsten: Art as an Interface of Law and Justice

Art as an Interface of Law and Justice 
Affirmation, Disturbance, Disruption

Frans-Willem Korsten

Published by Hart, 2021
ISBN 9781509944347

Art as an Interface of Law and Justice looks at the way in which the ‘call for justice’ is portrayed through art and presents a wide range of texts from film to theatre to essays and novels to interrogate the law. Such calls may have their positive connotations, but throughout history most have caused annoyance. Art is very well suited to deal with such annoyance, or to provoke it.

Frans-Willem Korsten speaks with Pierre d’Alancaisez about art that attempts to support – or disturb – law in pursuit of justice. He discusses Milo Rau’s The Congo Tribunal, Valeria Luiselli’s novel Lost Children Archive, the practice of Forensic Architecture, and Nicolas Winding Refn’s film Only God Forgives. Through art’s interface, impasses are addressed, new laws are made imaginable, the span of systems of laws is explored, and the differences in what people consider to be just are brought to light. 

Frans-Willem Korsten holds the chair in “Literature and Society” at the Erasmus School of Philosophy and works at the Leiden University Centre for the Arts in Society in the Netherlands.

Gayle Rogers: Speculation

A Cultural History from Aristotle to AI

Gayle Rogers

Published by Columbia University Press, 2021
ISBN 9780231200219

In a world that purports to know more about the future than any before it, why do we still need speculation? Insubstantial speculations – from utopian thinking to high-risk stock gambles – often provoke backlash, even when they prove prophetic. Why does this hypothetical way of thinking generate such controversy?

Gayle Rogers speaks with Pierre d’Alancaisez about the intellectual history of speculation: from the mirror and the watch tower, the Calvinist reformation, the scientific revolution, through Jane Austen, to the founding of the United States, and the shape of contemporary capitalism – with booms, manias, busts, and bubbles along the way. Unraveling these histories and many other disputes, Rogers argues that what has always been at stake in arguments over speculation, and why it so often appears so threatening, is the authority to produce and control knowledge about the future.

Gayle Rogers is professor and chair of English at the University of Pittsburgh.

Caroline Seymour-Jorn: Creating Spaces of Hope

Creating Spaces of Hope 
Young Artists And The New Imagination In Egypt

Caroline Seymour-Jorn

Published by The American University in Cairo Press, 2021
ISBN 9789774169748

It is now just over a decade since protests in Cairo’s Tahrir Square started Egypt’s chapter in the events of the Arab Spring. Much has been made in western criticism of art and culture’s role in the revolution, but the everyday cultural production of studio artists, graffiti artists, musicians, and writers since has attracted less attention. How have artists responded personally and artistically to the political transformation? What has social role of art been in these periods of transition and uncertainty? What are the aesthetic shifts and stylistic transformations present in the contemporary Egyptian art world?

Caroline Seymour-Jorn speaks with Pierre d’Alancaisez about her many years of research in Cairo that goes beyond the current understandings of creative work solely as a form of resistance or political commentary, providing a more nuanced analysis of creative production in the Arab world. Caroline suggests that young artists like Hany Rashed or The Choir Project have turned their creative focus increasingly inward, to examine issues having to do with personal relationships, belonging and inclusion, and maintaining hope in harsh social, political and economic circumstances.

Caroline Seymour-Jorn is professor of comparative literature and Arabic translation at the University of Wisconsin-Milwaukee and the author of Cultural Criticism in Egyptian Women’s Writing, 2011.

Gemma Commane: Bad Girls, Dirty Bodies

Bad Girls, Dirty Bodies
Sex, Performance and Safe Femininity

Gemma Commane

Published by Bloomsbury, 2021
ISBN 9781788311267

What makes a woman ‘bad’ is commonly linked to certain ‘qualities’ or behaviours seen as morally or socially corrosive, dirty and disgusting. Bad Girls, Dirty Bodies explores the social, sexual and political significance of women who are labelled bad or dirty. Through case studies (including Empress StahRubberDoll or Doris La Trine), the book challenges the notion that sexual, slutty, bad, or dirty women are not worth listening to. Gemma Commane speaks to Pierre d’Alancaisez about her study of neo-burlesque, queer performances, and explicit entertainment as sites of power, possibility, and success.

Gemma Commane is Lecturer in Media and Communications at the Birmingham School of Media, Birmingham City University. She is active in research in the fields of media and cultural studies, and gender and sexuality.

François Matarasso: A Restless Art

A Restless Art 
How participation won, and why it matters

François Matarasso

Published by Calouste Gulbenkian Foundation (open access), 2019
ISBN 978­1­903080­20­7

It is almost twenty years since contemporary art took a ‘participation turn’.  Now,  just about every museum or theatre company has a participation or engagement department. It is nothing short of orthodoxy that one of art’s core roles is to reach out to audiences beyond art institutions – and paradoxically it is often art institutions that mandate this function. How can we reconcile the somewhat forgotten history – and ongoing practice – of the community arts with the recent rise of participatory art, social practice, or outreach and engagement?

François Matarasso speaks to Pierre d’Alancaisez about his long-term engagement in community art practice, the meanings of participation and cultural democracy, and his proposals for thinking about cultural and artistic participation as a fundamental human right. We talk about the history of the community arts movement in the UK, his influential 1997 paper Use or Ornament, ways of supporting cultural democracy through projects like Fun Palaces, and reaching peak culture.

François Matarasso is a community artist, writer, and researcher, and one of the co-creators of the 2020 Rome Charter.

Jennifer Ponce de León: Another Aesthetics Is Possible

Another Aesthetics Is Possible
Arts of Rebellion in the Fourth World War

Jennifer Ponce de León

Published by Duke University Press, 2021
ISBN  9781478011255

In Another Aesthetics Is Possible Jennifer Ponce de León examines the roles that art can play in the collective labour of creating and defending another social reality. Focusing on artists and art collectives in Argentina, Mexico, and the United States, Ponce de León shows how experimental practices in the visual, literary, and performing arts have been influenced by and articulated with leftist movements and popular uprisings that have repudiated neoliberal capitalism and its violence. Whether enacting solidarity with Zapatista communities through an alternate reality game or using surrealist street theatre to amplify the more radical strands of Argentina’s human rights movement, these artists fuse their praxis with forms of political mobilization from direct-action tactics to economic resistance. Advancing an innovative transnational and transdisciplinary framework of analysis, Ponce de León proposes a materialist understanding of art and politics that brings to the fore the power of aesthetics to both compose and make visible a world beyond capitalism.

Jennifer Ponce de León speaks with Pierre d’Alancaisez about the counter colonial practice of the artist Fran Ilich, the activist performances of Grupo de Arte Callejero, Etcétera, and International Errorista rooted in the political histories of Latin America as a site of resistance in which the boundaries between art and politics blur.

Jennifer Ponce de León is an assistant professor of English at the University of Pennsylvania and an interdisciplinary scholar whose research focuses on cultural production and antisystemic movements in the Americas since the 1960s.

Anthony Downey: Research/Practice

book cover


edited by Anthony Downey

I’m good at love, I’m good at hate, it’s in between I freeze / Michael Rakowitz

The General’s Stork / Heba Y. AminRachel Armstrong

Published by Sternberg Press, 2019, 2020
ISBN 9783956794766, 9783956794780

book cover

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey.

Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce?

Anthony Downey, speaks with Pierre d’Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I’m Good at Love, I’m Good at Hate, It’s in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory.

Danielle Child: Working Aesthetics

book cover

Working Aesthetics is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks.

With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today.

Danielle Child speaks with Pierre d’Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs.

The opening street scene by Eyre Crowe is here.

Armstrong, Hughes: The Art of Experiment

book cover

The Art of Experiment 
Post-pandemic Knowledge Practices for 21st Century Architecture and Design

Rolf Hughes
Rachel Armstrong

Published by Routledge, 2021
ISBN 9781138479579

book cover

The Art of Experiment is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus.

Rachel Armstrong and Rolf Hughes speak with Pierre d’Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations.

Shannan Clark: The Making of the American Creative Class

The Making of the American Creative Class

Shannan Clark

Published by Oxford University Press, 2020
ISBN 9780199731626

During the middle decades of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the United States. Every day tens of thousands of writers, editors, artists, performers, technicians, and secretaries made advertisements, produced media content, and designed the shape and feel of the consumer economy. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labours.

Shannan Clark speaks with Pierre d’Alancaisez about the origins of the creative class, their labour union struggles and successes, the role of the Works Projects Administration, and institutions like the Design Laboratory and Consumer Union which foretell the experiences of today’s culture workers.

Jonas Staal: Propaganda Art in the 21st Century

Propaganda Art in the 21st Century book cover

Propaganda Art in the 21st Century

Jonas Staal

Published by MIT Press, 2019
ISBN 9780262042802

Propaganda Art in the 21st Century book cover

How to understand propaganda art in the post-truth era — and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon — delivers a message. But, as Jonas Staal argues, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propaganda. 

Jonas Staal speaks to Pierre d’Alancaisez about his proposal for a new model of emancipatory propaganda art — one that acknowledges the relationship between art and power and takes both an aesthetic and a political position in the practice of world-making.

Jonas Staal is a scholar of propaganda and a self-described propaganda artist. He is the founder of the artistic and political organization New World Summit (2012–ongoing) and the campaign New Unions (2016–ongoing). With BAK, basis voor actuele kunst, Utrecht, he cofounded the New World Academy (2013–16). His most recent project Collectivize Facebook exploring legal ways to return the ownership of data in its many forms to the collective ownership of the users of software platforms.

Leigh Claire La Berge: Wages Against Artwork

Wages Against Artwork
Decommodified Labor and the Claims of Socially Engaged Art

Leigh Claire La Berge

Published by Duke University Press, 2019
ISBN 9781478004233

The last twenty years have seen a rise in the production, circulation, and criticism of new forms of socially engaged art aimed at achieving social justice and economic equality. 

Leigh Claire La Berge, author of Wages Against Artwork, speaks with Pierre d’Alancaisez about what she calls decommodified labour — the slow diminishment of wages alongside an increase in the demands of work. Outlining the ways in which artists relate to work, La Berge examines how artists and organizers create institutions to address their own precarity and why the increasing presence of animals and children in contemporary art points to the turn away from paid labour.

Leigh Claire La Berge is Assistant Professor of English at Borough of Manhattan Community College, City University of New York. She’s the author of Scandals and Abstraction (about which she spoke on an earlier episode), and co-editor of Reading Capitalist Realism. She’s currently working on expanding her project Marx for Cats, initiated with Caroline Woolard and Or Zubalsky.

Tom Holert: Knowledge Beside Itself

Knowledge Beside Itself book cover

Knowledge Beside Itself
Contemporary Art’s Epistemic Politics

Tom Holert

Published by Sternberg Press, 2020
ISBN 9783943365979

Knowledge Beside Itself book cover

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.”

Pierre d’Alancaisez speaks with Tom Holert, author of Knowledge Beside Itself about the history of art’s fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art’s complicity in the “epistemic mammoth” of the knowledge economy.

Holert discusses the work of Natascha Sadr Haghighian and The Trainee by Pilvi Takala.