ArtLeaks Gazette Call for papers

7/30/2019 ArtLeaks Gazette Call for papers

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Launching the ArtLeaks Gazette Call for Papers

1. On the urgency of launching the ArtLeaks Gazette

Artleaks was founded in 2011 as an international platform for cultural workers where

instances of abuse, corruption and exploitation are exposed and submitted for public inquiry.

After over a year of activity, we, members of the collective ArtLeaks felt an urgent need to

establish a regular on-line publication as a tool for empowerment in the face of the systemic

abuse of cultural workers basic labor rights, repression or even blatant censorship and growing

corporatization of culture that we encounter today.

Namely: radical (political) projects are co-opted under the umbrella of corporate promotion

and gentrification; artistic research is performed on research hand-outs, creating only an illusion

of depth while in fact adding to the reserve army of creative capital; the secondary market thrives

as auction houses speculate on blue chip artists for enormous amounts of laundered money,

following finance capitalism from boom to bust, meanwhile, most artists cant even make a

living and depend on miserly fees, restrictive residencies, and research handouts to survive;

galleries and dealers more and more heavily copyright cultural values; approximately 5% of

authors, producers and dealers control 80% of all cultural resources (and indeed, in reality, the

situation may be even worse than these numbers suggest) ; certain cultural managers and

institutions do not shy away from using repressive maneuvers against those who bring into

question their mission, politics or dubious engagements with corporate or state benefactors; and

last but not least, restrictive national(ist) laws and governments suppress cultural workers

through very drastic politics, not to mention the national state functions as a factor of neoliberal

expression in the field of culture.

Do you recognize yourself in the scenarios above? Do you accept them as immutable

conditions of your labor? We strongly believe that this dire state of affairs can be changed. We

do not have to carry on complying to politics that cultivate harsh principles of pseudo-natural

selection (or social-Darwinism) instead we should fight against them and imagine different

scenarios based on collective values, fairness and dignity. We strongly believe that issues of


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exploitation, repression or cooptation cannot be divorced from their specific politico-economic

contexts and historical conditions, and need to be raised in connection with a new concept of

culture as an invaluable reservoir of the common, as well as new forms of class consciousness in

the artistic field in particular, and the cultural field more generally.

Recently, this spectrum of urgencies and the necessity to address them has also become the

focus of fundamental discussions and reflection on the part of communities involved in cultural

production and certain leftist social and political activists. Among these, we share the concerns

of pioneering groups such as the Radical Education Collective (Ljubljana), Precarious Workers

Brigade (PWB) (London), W.A.G.E. (NYC), Arts &Labor (NYC), the May Congress of Creative

Workers (Moscow) and others (See Related Causes section on our website). The condition of

cultural workers has also recently been theorized within the framework of bio-politics - in which

cognitive labor is implicitly described as a new hegemonic type of production in the context of

the global industrialization of creative work.

The question then emerges, what is creative work today? To structure this undifferentiated

categorizations, we will begin by addressing in our journal all those occupied with art who are

striving towards emancipatory knowledge in the process of their activity. As the contemporary

art world more and more envelops different areas of knowledge as well as the production of

events, we considered it a priority to focus on this particular field. However, we remain open to

discussing urgencies related to other forms of creative activity beyond the art world.

Through our journal, we want to stresses the urgent need to seriously transform these

workers relationship with institutions, networks and economies involved in the production,

reproduction and consumption of art and culture. We will pursue these goals through developing

a new approach to the tradition of institutional critique and fostering new forms of artistic

production, that may challenge dominant discourses of criticality and social engagement which

tame creative forces. We also feel the urgency to link cultural workers struggles with similar

ones from other fields of human activity at the same time, we strongly believe that any such

sustainable alliances could hardly be built unless we begin with the struggles in our own

factories.


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2. Theme for the first issue:Breaking the Silence - Towards Justice, Solidarity and Mobilization

The main theme of the first issue of our journal is establishing a politics of truth by

breaking the silence on the art world. What do we actually mean by this? We suggest that

breaking the silence on the art world is similar to breaking the silence of family violence and

other forms of domestic abuse. Similarly as when coming out with stories of endemic

exploitation form inside the household, talking about violence and exploitation in the art world

commonly brings shame, ambivalence and fear. But while each case of abuse may be different,

we believe these are not singular instances but part of a larger system of repression, abuse and

arrogance that have been normalized through the practices of certain cultural managers and

institutions. Our task is to find voices, narratives, hybrid forms that raise consciousness about

the profound effects of these forms of maltreatments: to break through the normalizing rhetoric

that relegate cultural workers labor to an activity performed out of instinct, for the survival of

culture at large, like sex or child rearing which, too are zones of intense exploitation today.

Implicit in this gesture is a radical form of protest - one that does not simply join the

concert of affirmative institutional critique which confirms the system by criticizing it. Rather,

breaking the silence implies bringing into question the ways in which the current art system

constructs positions for its speakers, and looking for strategies in which to counteract

naturalized exploitation and repression today.

At the same time, we recognize that the moment of exposure does not fully address self-

organization or, what comes after breaking the silence? We suggest that it is therefore important

to link this to solidarity, mobilization and an appeal for justice, as political tools. As it is the

understanding of the dynamic interaction between the mobilization of resources, political

opportunities in contexts and emancipatory cultural frames that we can use to analyze and

construct strategies for cultural workers movements. With summoning the urgency of potentia

agendi (or the power to act) collectively we also call for the necessity to forge coalitions within


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the art world and beyond it - alliances that have the concrete ability of exerting a certain

political pressure towards achieving the promise of a more just and emancipatory cultural field.

3. Structure of publication

The journal would be divided into 6 major sections.

A. Critique of cultural dominance apparatuses

Here we will address methodological issues in analyzing the condition of cultural production and

the system that allows for the facile exploitation of the cultural labor-force. Ideally, though not

necessarily, these theoretical elaborations would be related to concrete case studies of conflicts,

exploitation, dissent across various regions of the world, drawing comparisons and providing

local context for understanding them.

B. Forms of organization and history of struggles

Cultural workers have been demanding just working conditions, struggling over agency and

subjectivity in myriad ways and through various ideas about what this entails. In this section we

will analyze historical case-studies of self-organization of cultural workers. Our goal is not to

produce a synthetic model out of all of these struggles, rather to examine how problems have

been articulated at various levels of (political) organization, with attention to the genealogy of

the issues and the interaction between hegemonic discourses (of the institution, corporation, the

state) and those employed by cultural workers in their respective communities.

C. The struggle of narrations

In this section we will invite our contributors to develop and practice artistic forms of narration

which cannot be fully articulated through direct leaking. It should be focused on finding new


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languages for narration of systemic dysfunctions . We expect these elaborations can take

different form of artistic contributions, including comics, poems, films, plays, short stories,

librettos etc.

D. Glossary of terms

What do we mean by the concept of cultural workers? What does gentrification or systemic

abuse mean in certain contexts? Whose art world? This section addresses the necessity of

developing a terminology to make theoretical articulations more clear and accessible to our

readers. Members of ArtLeaks as well as our contributors to our gazette will be invited to define

key terms used in the material presented in the publication. These definitions should be no more

that 3-4 sentences long and they should be formulated as a result of a dialogue between all the

contributors.

E. Education and its discontents

The conflicts and struggles in the field of creative education are at the core of determining what

kind of subjectivities will shape the culture(s) of future generations. It is very important to

carefully analyze what is currently at the stake in these specific fields of educational processes

and how they are linked with what is happening outside academies and universities. In this

section we will discuss possible emancipatory approaches to education that are possible today,

which resist pressing commercial demands for flexible and creative subjectivities. Can we

imagine an alternative system of values based of a different meaning of progress?

F. Best practices and useful resources

In this section we would like to invite people to play out their fantasies of new, just forms of

organization of creative life. Developing the tradition of different visionaries of the past we hope

that this section will trigger many speculations which might help us collect modest proposals for

the future and thus counter the shabby reality of the present. This section is also dedicated to the


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practices which demonstrate alternative ethical guidelines, and stimulate the creation of a

common cultural sphere. This would allow cultural workers to unleash their full potential in

creating values based on principles of emancipatory politics, critical reflections and affirmative

inspiration of a different world where these values should form the basis of a dignified life.

4. On practicalities

Our open call addresses all who feel the urgency to discuss the suggested issues. We look

forward to collecting contributions until the 31st of December 2012. Contributions should be

delivered in English or as an exemption in any language after negotiations with the editorial

council. The editorial council of Artleaks takes responsibility of communicating with all authors

during the editorial process.

Please contact us with any questions, comments and submit materials to:

[email protected]. When submitting material, please also note the section under which you

would like to see it published.

The on-line gazette will be published in English under the Creative Commons attribution

noncommercial-share alike and its materials will be offered for translation in any languages to

any interested parts.

We will publish all contributions delivered to us in a separate section. However, our editorial

council takes full responsibility in composing an issue of the journal in the way we feel it should

be done.

Editorial council for the first issue will consist of: Corina Apostol, David Riff, Dmitry Vilensky,

Vlad Morariu, Vladan Jeremi.

Documents

ArtLeaks Gazette Call for papers