Exhibition: DYSTOPIA

After 4000 years of sci-fi
DYSTOPIA
Until 28 August 2011
A show written by Mark von Schlegell
& curated by Alexis Vaillant

CAPC
musée d’art contemporain
Entrepôt Lainé. 7, rue Ferrère
F-33000 Bordeaux
France

http://www.capc-bordeaux.fr

Opening hours :
Tue, Thur to Sun 11 a.m.–7 p.m., Wed 11a.m.–8 p.m.

Amid global crisis, contemporary art finds itself confronted by its own theoretical and practical dissolution within a thoroughly debunked reality. As the Tao te Ching advises the mysterious protagonist of Dystopia, the exhibition, the point is to “neither beat the pot and sing, nor loudly bewail the approach of death.” Between nihilism and hedonism lie pathways to failure, resistance and survival.

The exhibition Dystopia is the offshoot of a fiction written by the American science fiction novelist and theoretician Mark von Schlegell. Curated by Alexis Vaillant of the CAPC, the art-works of 46 international artists are presented within a world turned horror film. Utopia’s wretched flipside is presented not as subject matter but as setting, not as end but as point of beginning.

According to von Schlegell and Vaillant the enlightenment tradition of Dystopia—”the imaginary place or condition in which everything is as bad as possible”*—offers contemporary art specific pathways (of re-mix, collaboration and radical tradition) into present-tense science fictional struggles with the disintegrating real past and imaginary future. Immersed in the present, dystopian art presumes a weakest-possible point of view within an unresolved fictional narrative presumed to be worsening. As with the theory of black holes birthing new universes within them, it is within concentrated dystopia that the actual utopias appear.(*Oxford English Dictionary)

With all the museum’s windows covered by blood-red cellophane the visible outside world is rendered fictional, casting its glow deep into the museum’s nave. Even so, the art works find idiosyncratic function, adapting with surprising ease to the covering fiction.

Mark von Schlegell’s new novel New Dystopia, featuring work by all participating artists, will be published in English and French by Sternberg Press as catalog for the exhibition.

Featuring works by:
Wallace Berman, Cosima von Bonin, Brian Calvin, Tony Carter, Marc Camille Chaimowicz, Peter Coffin, Simon Denny, Andreas Dobler, Roe Ethridge, Keith Farquhar, Hans-Peter Feldmann, Aurelien Froment, Cyprien Gaillard, Isa Genzken, Dan Graham, Robert Grosvenor, Sebastian Hammwöhner, Roger Hiorns, Ull Hohn, Des Hughes, Peter Hutchinson, Sergej Jensen, On Kawara, Michael Krebber, Jesús Mari Lazkano, Rita Mcbride, John Miller, Pathetic Sympathy Seekers, Manfred Pernice, Stephen G. Rhodes, Glen Rubsamen, Sterling Ruby, Julia Scher, Frances Scholz, Michael Scott, Markus Selg, Reena Spaulings, Michael Stevenson, Tommy Støckel, Josef Strau, Blair Thurman, Mathieu Tonetti, Oscar Tuazon, Franz West, Jordan Wolfson
and a catastrophe by Eugene Isabey

Corporate sponsors
Air France, Seg Fayat, Lacoste, Lyonnaise des Eaux, 20 Minutes, Mouvement, Château Chasse-Spleen

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Event: Beyond the Crisis. For the Practice of the Commons

BEYOND THE CRISIS. FOR THE PRACTICE OF THE COMMONS

54th International Art Exhibition –
la Biennale di Venezia

S.a.L.E-Docks and Institut Ramon Llull
Catalonia and Balearic Islands
Magazzino del Sale N.2
Dorsoduro 265, Venice

9 June–30 October 2011

Project website
http://www.saledocks.org
Venezia.llull.cat
Info:
saledocks@gmail.com

S.a.L.E.-Docks in partnership with the Institut Ramon Llull is organizing a round of meetings parallel to 180º the personal exhibition of Mabel Palacín.

From June to October, the meetings will focus on issues such as: the Commons, piracy, metropolitan conflicts, China and the Euro-Mediterranean Zone and the status of the image today.

This is a transdisciplinary program where artists, historians, architects, sociologists, philosophers, curators and economists will be invited to discuss.

These are the first two sessions planned on June 2011.

In collaboration with Centro Studi Alternativa Comune.

Mabel Palacín: 180º
The Catalonia and Balearic Islands project for the 54th International Art Exhibition – la Biennale di Venezia presents a solo project by the artist Mabel Palacín that has been specifically conceived for the occasion in the city of Venice.

The 180º project alludes to the so-called 180º rule in film that establishes the relationship between the position of the camera and that of the viewer. Mabel Palacín refers to this principle to show that the relationship between the viewer and the image has been altered in the contemporary world by its multiplication and democratic use.

June 10
3pm
The Commons. A new Paradigm Beyond the Private and the Public.
– Joan Fontcuberta
– Christian Marazzi
– Ugo Mattei
– Francesco Raparelli
– Raquel Xalabarder

June 25–26 (timetable to be confirmed)
The practice of the Commonwealth in the metropolis of the crisis
Gentrification, Colonialisms, Conflicts, Arts and Architectures.
– Decholonizing Architecture (Eyal Weizman, Alessandro Petti, Sandi Hilal)
– Josephine Berry Slater
– Anthony Iles
– Martí Peran
*All the participants to be confirmed, please check the website

Free admission.
Info: saledocks@gmail.com
Language: Italian–English

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Exhibition: Speculative

Exhibition: June 16 – August 28
OPENING: JUNE 16
Performance Art Event: June 30
Panel Discussion: July 28
6522 Hollywood Boulevard, Los Angeles 90028

CURATED BY:
Christopher O’Leary &
Zach Blas

SPECULATIVE features work by:
Casey Alt
Zach Blas
Jeff Cain
Micha Cardenas
Xarene Eskandar
Michael Kontopoulos
Elle Merhmand
Christopher O’Leary
Claudia Salamanca
Pinar Yoldas

CURATORIAL STATEMENT
Today, we see the world we live in as an inviable world, and yet a world poised for radical reconfiguration.

From global economic crises to pandemic panics to burgeoning forms of hatred and control to the ravaging of our earth, new borders and quarantines haunt and terrorize the world at stochastic levels of the global, nation-state, informatics, and the biological. Indeed, our world presents to us the seemingly complete commodification of life, culture, the body, earth.

Yet, we find within these very inviabilities the kernels of potential to enact and push forward new ways, worlds, and lives.

In fact, we see many up-risings emerging everywhere: from the calls to action of militant groups like The Invisible Committee to the UC student protests to the insurrections of the Middle East to the digital activisims of WikiLeaks and Anonymous.

These all point toward living and existing in the world another way.

We see the SPECULATIVE as the uniting force in our artwork that conjures forth the potential of the world we want, in political, cultural, social, sexual, technological, biological, economic, and ecological dimensions.

The SPECULATIVE is that imaginative, aesthetic work done by the artist to create new possibilities, inspire change, gesture toward a livable future, and generate new tactics and methodologies.

The SPECULATIVE asks us to use our imagination politically.

The SPECULATIVE allows us to subvert reality; practice new types of activism; work with the impossible as a political framework; rediscover the magic of our materials; question what a body and collective is capable of; locate new sexualities and perversities; reconfigure capitalism, design, and branding; create new worlds, peoples, species, and ecologies; find embodiments and other productive actions that emerge from war, apocalypses, disasters, and death; and build our dream utopias.

Exhibition and Event Description

As an exhibition The SPECULATIVE will focus on new modes of art making and new modes of presentation with a emphasis on the experiential, subversive, and tactical potentials for art in the 21st century. The projects included in this exhibition engage wildly diverse mediums from critical software, art-science, social practices, experimental video, wearable architecture, performance works and much more. The practices represented here deal with speculative notions of design, science, business, sex, gender, death, politics, environmentalism and most of all the future.

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Exhibition: Primitive Accumulation

Friday May 27th-June 30th, 2011

Curated by Arne De Boever and Dan Davis

FOLD Gallery London is pleased to present a group show celebrating the first two years of http://www.PRIMITIVEACCUMULATION.com, an online collaboration between artist Dan Davis and literary critic and critical theorist Arne De Boever. Although the project initially recorded only work by its founders, it gradually began to include works by other artists as well, leading the process of accumulation to intensify until the point of its destruction. In the midst of an emergency situation that is both political and economic, Primitive Accumulation aims to stage a dialogue between artworks and texts that would empower audiences to not simply face up to the challenges of their times, but to generate works in response.

Primitive Accumulation was launched some time in the Fall of 2009 as a means to record the creative collaborations between artist Dan Davis and critic Arne De Boever, as well as a few of their friends. In the midst of an emergency situation that is both political and economic, the blog aims to stage a dialogue between images and texts that would empower viewers and readers to not simply face up to the challenges of their times, but to generate new works in response to them. Our philosophy is that crisis is not a problem, but should be embraced as the source of new aesthetic, ethical, and political possibilities. So far, the images on the site have ranged from scratchboard drawings, to pencil and India ink on paper, to digital images; the texts have addressed key questions in ethical and political thought from Ancient Greece to the present. Although initially, the blog will only record work by its founders, our aim is to include, little by little, works by other artists and writers so as to intensify the process of creative accumulation until the point of its destruction, when the blog will burst out of its frame and the virtual accumulation it has staged will take over reality. After this break has occurred, the works featured on Primitive Accumulation will be gathered for a show at a gallery in London, where a self-published book with images and texts from the site will be launched.

http://www.primitiveaccumulation.com/

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Article: ‘From financial crisis to world slump: accumulation, financialization, and the global slowdown’

David McNally, ‘From financial crisis to world slump: accumulation, financialization, and the global slowdown’, Marx and the Financial Crisis of 2008, December 2008

As the International Monetary Fund observed some months ago, we are living through “the largest financial crisis in the United States since the Great Depression.” But that was to understate things in two ways. First, the financial crisis is no longer largely about the US. It has gone global, rocking the UK, the Eurozone, Japan, and the so-called “emerging market economies.” A wave of devastating national and regional crises is just getting started, having already hit Iceland, Hungary, the Ukraine, and Pakistan. Secondly, this is no longer simply a financial crisis; a global economic slump is now sweeping through the so-called “real economy,” hammering the construction, auto and consumer goods sectors, and clobbering growth rates in China and India. Manufacturing output is sharply down in the US, Europe, Japan and China. The Detroit Three automakers, reeling from losses of $28.6 billion in the first half of this year, are teetering on the verge of collapse. World trade is in a stunning free fall.

Download the PDF: http://sites.google.com/site/marxandthefinancialcrisis/mcnallydec2008/McNallyDec2008rev.pdf?attredirects=0

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Book: Bankrupt Britain: An atlas of social change

Bankrupt Britain: An atlas of social change
by Daniel Dorling
23 May 2011

Bankrupt Britain is a unique atlas giving a comprehensive picture of the effect of the recession on Britain. In detailed colour maps, it shows how economic, social and environmental fortunes have been affected in different areas in the wake of the 2007 banking crisis, 2008 economic crash and 2009 credit crunch. It is essential reading for a broad audience with detailed local level data and a national snap-shot of Britain during this time.

Daniel Dorling is Professor of Human Geography at the University of Sheffield. His recent books include Injustice: Why social inequality persists and So you think you know about Britain?. He is a member of the World Health Organization’s Scientific Resource Group on Health Equity Analysis and Research.Bethan Thomas is a Research Fellow in the Department of Geography at the University of Sheffield. She has researched extensively on inequalities in Britain. Her publications include Identity in Britain and The Grim Reaper’s Road Map.

http://www.policypress.co.uk/display.asp?K=9781847427472&

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Project: European School of Social Imagination

SCEPSI – European School of Social Imagination
Conference 20-22 May 2011, Republic of San Marino

PRELIMINARY PROGRAM: http://scepsi.eu/en/program
PRACTICAL INFORMATION: http://scepsi.eu/en/info

Reinventing the autonomy of knowledge is the task of our time. It’s not only a political task. The epistemic foundation of research and learning as autonomous activities is at stake, when dogmas of profit, growth, competition take the lead in the old institutions of production and transmission of knowledge. This is why we are calling students and researchers, artists and scientists and social activists to gather in the first conference of SCEPSI that will take place in San Marino, on 20-22 May 2011.

Protests against the financial aggression and the destruction of the public school in the European continent are spreading, but we have to create new institutions, aimed to self organization of cognitive workers and to the reactivation of social sensibility and imagination. The conference will be the first act of the activity of the European School of Social Imagination, that in the next year will organize seminars in San Marino, and in European cities like Helsinki, London, and Oslo.

The activity of the School starts from four question: 1. How can we think the consequences to every day life in the face of a possible economic failure of the European Union? 2. How can art and poetry arouse new energies and revitalize the social field weakened by precarization and the alienation of (digital) labour? 3.How can emergent scientific imagination
reconstitute the social body? 4. How can we open up spaces for the autonomy of knowledge within the process of the marketisation and capitalisation of the education system?

These questions will be foundational for the emergent curriculum of the first year of seminars and engagements of the European School of Social Imagination. The following is the program of the conference, that may change slightly during the next weeks.

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