Search results for 'art'
Tactics of Protest Now
This discussion explores tactical media in contemporary culture and social movements. In response to a deep economic, political, and cultural crisis, new social movements are challenging the dominant political and economic order. Tactical media, David Garcia says, has emerged through, 'the impact of the rise of small-scale DIY media, tools and networks in art, social and political activism, and the rise of new social movements.' How can tactical media connect with and re-contextualise the traditional methods of propaganda and create new alternative forms of action for the future?
ReadIt's the Political Economy, Stupid - The Global Financial Crisis in Art and Theory
Book presentations:
Tuesday, 5 March 2013, 7:00 p.m.
Depot, Vienna
Oliver Ressler in conversation with Luisa Ziaja (held in German)
An event in cooperation with Open Systems - Zentrum für Kunstprojekte, Vienna
Friday, 8 March 2013, 7:30 p.m.
Home Workspace, Ashkal Alwan, Beirut
Book signing at 7:30pm and presentation at 8pm by Gregory Sholette
Thursday, 25 April 2013, 6:30 p.m.
Austrian Cultural Forum, New York
Book presentation with Gregory Sholette, Oliver Ressler and guests
A User's Guide to Demanding the Impossible
Laboratory of Insurrectionary Imagination
This guide is not a road map or instruction manual. It's a match struck
in the dark, a homemade multi-tool to help you carve out your own path
through the ruins of the present, warmed by the stories and strategies
of those who took Bertolt Brecht's words to heart: "Art is not a mirror
held up to reality, but a hammer with which to shape it."
Oliver Ressler
Artist and flimmaker
Born in Knittelfeld, Austria, in 1970, lives and works in Vienna.
Book Launch Critical Strategies in Art and Media
Following the September 2009 roundtable conference organised by the World Information Institute in New York, the follow-up publication will be presented on Thursday April 15 at the New School University. The book launch hosted by Ted Byfield,
with remarks by Marco Deseriis (NYU), Steve Kurtz (Critical Art
Ensemble), Andy Bichlbaum (The Yes Men), Ken Wark (NSU), and Trebor
Scholz (NSU)
Wollman Hall, New School University, 65
West 11th St, 5th Floor, New York, NY.
6:30 - 8:15 pm
No Surprise
Truth is concrete
A 24/7 marathon camp on artistic strategies in politics and political strategies in art. 21/09 - 28/09/2012, Graz, Austria.
ReadAntisocial Media
“Antisocial Media” is a remix/cut-up/utopian-plagiarism of Guy Debord’s 1967 “The Society of the Spectacle” that reflects on the role of the network and (anti)social media in political, economic, and everyday life.
ReadAKA theCastle
MOVING FOREST LONDON 2012 is presented by AKA the Castle:
ReadOPEN #11 - Hybrid Space
Theme issue of OPEN, journal for Art and the Public Domain, published by the Foundation for Art and Public Space (SKOR), Amsterdam & NAi Publishers, Rotterdam, Fall 2008.
Nina Czegledy
Moderator of Enduring Post Communism: Networks of Patronage- An independent media artist, curator and writer, Nina Czegledy has been involved in collaborative international projects and cultural exchange focusing on Eastern European initiatives since the mid eighties.
ReadThe antidemocratic makeover of the cultural scene in Hungary
Recent legislative steps in Hungary point towards the authoritarian transformation of the institutional structures and funding system of cultural life, by giving an ultra conservative artist group close to the rightwing government, the Hungarian Academy of Arts, an unassailable position of power. As a result of these decisions, the government has endangered the long term autonomy, professionalism and democratic procedures of Hungarian contemporary art.
Read1st ArtLeaks Working Assembly 2012
ArtLeaks invites you to a public working assembly around the issues that are at the core of the group's mission - exposing instances of abuse, corruption and exploitation in the art world. This is the official public launch of our platform, which began to operate in September 2011, and will be followed by a series of debates and workshops in the near future. These present a unique opportunity to engage more directly with conditions of cultural work that affect not only artists but creative workers in general: those from the traditionally creative fields as well as those generally involved in cultural production.
Read