Wednesday, 24 August 2011

Informality - art, economics, precarity

SMBA (Stedelijk Museum Bureau Amsterdam)  14 August - 2 October 2011


Jose Antonio Vega Macotela, Time Exchange 108, 2007

The exhibition ‘Informality’ arises from the increasing attention to banking economy and the interest in alternatives to that, an interest also expressed within the arts. The most recent example of this is TimeBank, by Anton Vidokle and Juliete Aranda. The work involves a network of bank branches in art institutions – including Stroom, in The Hague – for which the central ‘currency’ is not money, but time, in the form of ‘Hour notes’ that circulate among the bank’s clients. The artwork, functions as a commentary on a form of capitalism directed (and misdirected) at the banks, here it becomes a form of alternative economy in and of itself. 

Specifically, the exhibition ‘Informality’ focuses on the concept of the informal economy. The informal economy is part of the commercial and service sectors that operate outside the circuit of formal financial transactions –and therefore outside normal banking channels – and is thus hidden from the oversight of the Revenue Service and other governmental institutions that control business and economic affairs. In the West, the informal economy makes up a relatively small part of the total economy: in The Netherlands it is estimated to be about 11%. That is not insignificant; one can think, for instance, of illegal or semi-legal work such as prostitution and domestic help, criminality and fraud, traffic in drugs and people, but also flea markets, EBay, volunteer work and bartering. On other continents, such as Africa and Latin America, but also in former East Bloc countries, the informal economy often makes up the largest part of the total economy.

Artists include:  Marc Roig Blesa, Rogier Delfos, Domestic Workers Union, Matthijs de Bruijne Detour (Marnix de Klerk / NinaMathijsen), Doug Fishbone, Kaleb de Groot, Jose Antonio Vega Macotela and Senam Okudzeto.

Information from the SMBA website and newsletter.

Friday, 12 August 2011

EVERYTHING MUST GO with artist group Foreign Investment

Everything Must Go with artist group Foreign Investment, 2011


Everything Must Go is a playful project by the artist group Foreign Investment. This commissioned project for Chinese Arts Centre, takes a highly engaged approach to connect the Centre and the public. Everything Must Go offers a unique experience for visitors to actively involve themselves as suppliers, producers and investors throughout the different stages of the exhibition.

In the first instance, members of the public are invited to participate by donating unwanted consumer objects for an 'upgrade.' Then a group of volunteers recruited locally will work with the artists to gold-gild the objects. The final upgraded product will be available for public to purchase in the art sale at the end of the exhibition.

Information from the Chinese Arts Centre website. To visit project information: Everything Must Go or information on Foreign Investment.  

Wednesday, 10 August 2011

Post-Fordism and its discontents

Post-Fordism and its discontents publication

How to rethink the recent transformations of global capitalism in the light of its manifold internal fractures and contradictions? The book Post-Fordism and its discontents addresses complex connections between culture and economy in order to scrutinise what underpins the logic of late capitalism. Post-Fordist theories have offered a very provocative and illuminating slant on the developments within the new regime of capitalist accumulation. In many ways, this theoretical research challenges mainstream economic and cultural theories.

Contributions by Sergio Bologna, Katja Diefenbach, Gal Kirn, Zdravko Kobe, Gorazd Kovačič, Sandro Mezzadra, Rastko Močnik, Ciril Oberstar, Igor Pribac, Jacques Rancière and Marina Vishmidt.

Editor:  Gal Kirn

From the Jan Van Eyck Academy

Friday, 5 August 2011

Damon Rich: Red Lines, Death Vows, Foreclosures, Risk Structures

Architectures of Finance from the Great Depression to the Sub-Prime Meltdown

The American preference for traditional residential design masks a frightening reality: across the globe, individual buildings have been retrofitted to serve as interchangeable nodes in a vast abstract structure, held loosely together by legal and political restraints, made to allow the furious circulation of finance capital.

 
Installation View, 2008
 
Predatory Tales, a short video featuring victims of mortgage scams


                                      
                                                              Predatory Tales:  True stories of homebuying scams

An installation of models, photographs, videos, and drawings by artist-designer Damon Rich, Red Lines immerses visitors in a landscape of pulsing capital and liquidated buildings, exploring the relation between finance and architecture.

During a year-long residence at MIT’s Center for Advanced Visual Studies, Rich, founder of the Center for Urban Pedagogy (CUP), surveyed the darkening realm of real estate markets: foreclosures, pro-formas, chains of title, block busting, exploding ARMs, and the obscure history of the mortgage.


Damon Rich is an artist and designer. Information from the MIT Center for Advanced Visual Studies.



Tuesday, 2 August 2011

Artist Oliver Ressler - Socialism Failed, Capitalism is Bankrupt. What comes Next?

Socialism Failed, Capitalism is Bankrupt. What comes Next? 2010

 

Whilst on a residency in Yerevan as part of the project Eat and Work, Ressler explored political and economic situations in the Republic of Armenia.  The project is a film and a two channel video instillation.  The film was recorded in a market called "Bangladesh" where over 1000 traders try to survive in an economically depressed area, where the traders speak of their pre and post socialist lives.  Where in the past the state ensured their basic needs were met to a the new state where all safety nets have been cut off.

More information on the project and to view the film:  Socialism Failed, Capitalism is Bankrupt. What comes Next?