Tag Archives: economy

Exhibition: Informality: Art, economics, precarity

Informality
Art, economics, precarity
14 August–2 October 2011

Stedelijk Museum Bureau
Amsterdam
Rozenstraat 59
1016 NN Amsterdam
The Netherlands
http://www.smba.nl

Open: Tuesday to Sunday, 11 a.m.–5 p.m.
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The exhibition ‘Informality’ arises from the increasing attention being given to the role of banks in our economy, and the interest in alternatives to their role. It is also a first reflection on the role of art and artists in an atmosphere of crisis and cuts in cultural funding.

‘Informality’ focuses specifically on the concept of the informal economy. The informal economy is that part of commercial and the service sector that operates outside of the circuit of formal financial transactions—and thus is hidden from the sight of the Revenue Service and other governmental institutions that control business and economic affairs, and the banks themselves. In the West the informal economy makes up about 11% of the total economy. 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.

‘Informality’ examines the phenomenon from the perspective of art, involving certain informal aspects of the art world itself in doing so, including the precarious position of the artist in society.

The Domestic Workers Union (a section of the Dutch Trade Union Congress) is one of the parties responsible for the creation of the Trash Museum, which was unveiled earlier this year, to commemorate the great cleaner’s strike of 2010. The artist Matthijs de Bruijne and the designers at Detour were called in to assist in its realization. The project is an example of a campaign that was an outcome of what is called the organizer’s model: a labor union campaign built from the bottom up, rather than directed from the top down. For ‘Informality’ the cleansers were asked to supply notes about their work—analogous to the domestic memos on refrigerators and kitchen counters that are often the only form of communication between them and their bosses.

The informal economy is in a certain sense related to the concept of ‘informal art’, as is the case with sculptures made of discarded or reused objects and thus connected with the visible recycling strategies in informal economies. The contribution by Kaleb de Groot consists of recycling his own work and the contents of a small, neglected storage room at SMBA. Among the things De Groot includes are the publications which were lying there, discarded exhibition materials, and even the remains of what must once have been art objects.

The Spanish artist Marc Roig Blesa bases his Werker series on the representation of the worker, and the history of the representation of workers. With the aid of the designer Rogier Delfos this has led to a variety of publications and other graphic expressions. For ‘Informality’ Roig Blesa focuses on several artists and their kaleidoscopic blend of sidelines in fields outside the art world. Roig Blesa and Delfos appropriate this material for an idiosyncratic series of posters.

In the video It’s not you, it’s me by the British/American artist Doug Fishbone we see the artist speaking, trying to convince the viewer to make a financial contribution toward bankrolling a new project, a film. An artist will do anything to be able to realize his work.

The Mexican Jose Antonio Vega Macotela worked a total of 365 days on an exchange with the inmates of the Santa Martha Acatitla Prison in Mexico City. The prisoners could make their wishes known to the artist regarding tasks they wanted to have done outside the prison, which he then performed. In exchange Macotela asked the prisoners to perform a specific assignment for him, which resulted in a work which then became his property.

Senam Okudzeto presents a part of her installation Capitalism and Schizophrenia. The work is based on the contents of a Swiss apartment that was abandoned when its resident fled from Interpol. His lodgings proved to contain a vast archive of not only of his own notes but also of hundreds of self-help books of the ‘how I got rich’ variety, written by respected representatives of high finance. Among the things found there were documents pointing to a scam, in the form of a protracted e-mail correspondence from the criminal with a victim/collaborator in a fraud case, the owner of a Dutch lumber business.

SMBA Newsletter
SMBA Newsletter nr. 123 has appeared to accompany ‘Informality’. It contains a brief introduction to the exhibition in Dutch and English. It is available at the exhibition and can be downloaded at http://www.smba.nl

Collectivity
In addition, SMBA together with the artist Matthijs de Bruijne is organizing an evening with presentations by artists and groups for whom this quest for greater social solidarity is central.

The precise date of this presentation will be announced later.

Suggested other exhibitions and projects
-Stroom Den Haag: Time/Bank and Time/Store, http://www.stroom.nl
-Casco, Utrecht: Grand Domestic Revolution, http://www.cascoprojects.org
-De Appel, Amsterdam: Genius without Talent, http://www.deappel.nl

‘Informality’ has been organized as part of Project ‘1975’ and made possible by the Mondriaan Foundation and the Amsterdam Fund for the Arts

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Exhibition: The End of Money

Witte de With
Center for Contemporary Art
Witte de Withstraat 50
3012 BR Rotterdam
The Netherlands
http://www.wdw.nl

Witte de With is pleased to present two events in May: The opening of the group exhibition The End of Money and the first two lectures in the series To Tell The Truth.

THE END OF MONEY
Group exhibition
22 May–7 August 2011

Opening
Saturday 21 May 2011 (6 to 9 pm)
Performance by Goldin+Senneby at 7 pm

Film Screening
Sunday 26 June 2011 (12 to 6 pm)

The End of Money is a group exhibition about time and value. Bringing together works by a host of international artists, this exhibition reflects upon the fears, hopes, and expectations associated with the end of money and its ominous consequence: the dissolution of an absolute standard of value.

What limits does the economy impose on our collective imagination, and how is the collective imagination responsible for the current economy? The End of Money focuses on the multiple relationships that could and those that should exist between culture and economy. Informing this curatorial project is the utopian notion that, in a world without money—a world where money has been factored out of the collective memory, other suppressed forms of value may emerge, leading to another social bond and a different relationship to time.

The works included in The End of Money range from reflections on the arbitrary ways in which value is ascribed to things to explorations of the absolute loss of representative value. Some of the featured works highlight time, which is a persistent corollary of money in our efficiency-obsessed culture.

Artists
Alexander Apostol; Pierre Bismuth; Peter Fischli & David Weiss; Zachary Formwalt; Goldin+Senneby; Hadley+Maxwell; Toril Johannessen; Vishal Jugdeo; Agnieszka Kurant; Matts Leiderstam; Maha Maamoun; Christodoulos Panayiotou; Lili Reynaud-Dewar; Tomas Saraceno; Tonel; Vangelis Vlahos; and Lawrence Weiner.

Curated by
Juan A. Gaitán; assisted by Amira Gad.

Publication
To accompany the exhibition, a digital publication will be made available for free download via http://www.wdw.nl in July 2011 and will feature texts by: Dessislava Dimova, Donatien Grau, Dieter Roelstraete, and Carolina Sanin.

Tours
• Every Wednesday and Sunday, 3 pm: tours for individuals in English or Dutch. Free excluding exhibition entry price. No reservation necessary.
• Tours are available for groups of 10 to 15 people. reservations@wdw.nl

Education
Witte de With Education offers ‘art confrontations,’ interactive tours for schools and universities. reservations@wdw.nl

Supported by
OCA, Pro Helvetia: Swiss Arts Council, Cypriot Ministry of Education & Culture. With thanks to the Fonds BKVB.

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Images: Signs of Crisis – Madrid 2010

Photos from Madrid during our participation at the European Congress of Aesthetics: ‘Societies in Crisis’ Nov 2010.

Their profits, our crisis. Another world is possible.

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Art: Dance With Us

DANCE WITH US (2008)
Source : Nasdaq Yahoo

Fred Astaire danse au rythme de l’économie américaine. Fred Astaire dances to the rhythm of the American economy.

http://incident.net/works/oboro/3.html

Dance with US (2008)
Installation interactive / interactive installation
Vidéoprojecteur, écran LCD , bois, ordinateur, joggle, Director
Programmation / Software:Vadim Bernard
The scene, already employed in Possibles Bodies (2002), is connected to the American Stock Exchange in real time. Fred Astaire dances to the rhythm of the economy: the more volatile the tradings, the more fluid the movements.

Artist:
Born in Paris.
Grégory Chatonsky currently resides in Montreal and Paris.
He holds a philosophy master’s from the Sorbonne and a multimedia advanced degree from the Ecole nationale superieure des beaux-arts in Paris. He has worked on numerous solo and group projects in France, Canada, the United States, Italy, Australia, Germany, Finland and Spain. His works have been acquired by public collectors such as the Maison Europeenne de la Photographie.
In 1994, Chatonsky founded a net.art collective, incident.net, and has produced numerous works, such as the websites of the Pompidou Centre and Villa Médicis, the graphic signature for the Musée contemporain du Val-de-Marne, and interactive fiction for Arte. He has taught at the Fresnoy (national modern art studio, France) and at UQAM’s school of visual and media art.
Chatonsky’s body of work, including interactive installations, networked and urban devices, photographs and sculptures, speaks to the relationship between technologies and affectivity, flow that define our time and attempts to create new forms of fiction.

http://gregory.incident.net/

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Exhibition: Work Now

Work Now exhibition
13 July – 27 September 2009

Z33
Zuivelmarkt 33, B-3500 Hasselt, Belgium
http://www.z33.be

“With The ‘Work Now’ exhibition, Z33 wishes to reflect upon the concept and meaning of ‘work’ in our present society. Not such an inappropriate choice, considering current events. The present crisis has people thinking about their jobs. But also in times of economic growth it is not unwise to reflect upon how our labour is organised and structured, why this is so, and how this influences our perception of work. ‘Work’ does not only take most of our available time, it often defines our sense of identity in an important way.

The (art) Works in ‘Work Now’ throw light, each in their own way, on the how and why of today’s work in our society. Issues such as flexibility, mobility, motivation, significance, and the work-life balance are dealt with. The art works in ‘Work Now’ are direct or ambiguous, whimsical or dead serious, but always well-founded and critical.

Do we wish to partake in the discourse pertaining to ‘work’ as it is presented to us? Do we want our daily occupations to be meaningful or is there room for meaningless work as well? Is there room only for creative, self-disciplined people with a flexible attitude or are there other ways to ‘work’? What does this mean in terms of an overall economic and societal model?”

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Article: This stock collapse is petty when compared to the nature crunch

This stock collapse is petty when compared to the nature crunch
The financial crisis at least affords us an opportunity to now rethink our catastrophic ecological trajectory

The Guardian
14 October 2008
George Monbiot

“This is nothing. Well, nothing by comparison to what’s coming. The financial crisis for which we must now pay so heavily prefigures the real collapse, when humanity bumps against its ecological limits.

As we goggle at the fluttering financial figures, a different set of numbers passes us by. On Friday, Pavan Sukhdev, the Deutsche Bank economist leading a European study on ecosystems, reported that we are losing natural capital worth between $2 trillion and $5 trillion every year as a result of deforestation alone. The losses incurred so far by the financial sector amount to between $1 trillion and $1.5 trillion. Sukhdev arrived at his figure by estimating the value of the services – such as locking up carbon and providing fresh water – that forests perform, and calculating the cost of either replacing them or living without them. The credit crunch is petty when compared to the nature crunch.”


http://www.guardian.co.uk/commentisfree/2008/oct/14/climatechange-marketturmoil

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Article: Global Capitalism: The Suicide Version

Global Capitalism: The Suicide Version

truthdig.com
29 March 2009
By William Pfaff

“The globalization of the international economy launched by the United States as an accidental policy of the Clinton administration has since been much lauded as benefiting (some of) the poor of the world by drawing them into the international capitalist system. This is not actually what it was designed to do.

It has proved, like the god Janus, to have two aspects. The second face now has been revealed. Economic globalization has, as its second result, impoverished (some of) the rich of the world.”

http://www.truthdig.com/report/item/20090324_global_capitalism_the_suicide_version/

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