While OK battles the land owning class, Lucia is here to read you a selection from Byung-Chul Han’s “Topology of Violence”, a text that describes how biopolitics of the neoliberal hellscape brought us all to become achievement subjects. There’s some reference to the concept of Deleuzian accelerationism, where it’s totally wrong, where its inevitable, and how the pandemic may actually be the catalyst to destroy capitalism if we can manage to divest ourselves of the mindset that achievement of profit is what keeps us from violence. McKenzie Wark sums up this book best by saying, “His books are a joy to think with-or against.” If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram. You can contact Art & Labor at email@example.com
Have you been feeling tired from your daily dose of news chronicling the ineptitude of our administration, but finding it hard to look away? Well, feel free to pop this episode on and let your eyes keep watching the tire fire. As part of Constructing the Real, a course that focuses on how aesthetics and politics synthesize to create objectivity, Lucia reads the introduction of Art and (Bare) Life by Josephine Berry. Aside from being a great text for mapping what theorists understood about art and revolution over the course of the past few centuries, it’s also a solid read for anyone who is trying to figure out what their own practice is capable of during times like these.
If you’re interested in joining a conversation on this text, Constructing the Real has a channel in our Discord, and if you just feel like listening along, that’s cool too. We’ll post more chapters from the book as they transform into audiobook format.
Check it out, we read the e-flux so you don’t have to!! Support us on Patreon for recordings of Lucia’s reading group!! “Boris Groys is a philosopher, essayist, art critic, media theorist, and an internationally renowned expert on Soviet-era art and literature, especially the Russian avant-garde.” If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram. You can contact Art & Labor at firstname.lastname@example.org
READING - Painting as Theoretical Practice: Althusser and Supports/Surfaces
Let us read to you! This time an essay by Sami Siegelbaum in Selva Journal. Here is an excerpt: “although historical and dialectical materialism formed the basis of Supports/Surfaces’ theory and practice, it was not ‘art for the people.’ Instead, it was a ‘theoretical and ideological weapon for the petit bourgeois intelligentsia’ who would later join or ally with the working class. This thesis introduced the Maoist emphasis on the re-education of intellectuals into the sphere of French painting, while also acknowledging the limitations of a propagandistic figurative art.” Read the whole piece here, including pictures and footnotes. If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram.You cancontact Art & Labor at email@example.com
Hello everyone! Y’all ready to dive into the simulacrum void? We discuss press releases, how publicity influences art economies, the concepts of nothingness/realities, and synthesize the convo with an essay from the original media theorist weirdo Jean Baudrillard. Zine folks: catch OK at TCAF this weekend! Thank you Peter (@deadtreesanddye) for sending us the Hito zines! If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor or https://d.rip/artandlabor. Follow us on twitter and instagram.
READING - Manifesto: Towards a Free Revolutionary Art
We’ve decided to start reading art manifestos in full and providing light commentary. First up, of course, is 1938’s Towards a Free Revolutionary Art ghostwritten by Leon Trotsky, signed by Diego Rivera and André Breton. Trotsky was one of the leaders of the Russian revolution, he was famously forced to flee to Mexico. Thanks to funding from the American communist party, he was able to stay near Rivera and Frida Kahlo, but was eventually assassinated there. The manifesto denounces both fascism and Stalinism, and is a seminal text to the history of Muralism and Surrealism/Dada.