Will.

To accompany Andrew Cooper’s participation in Speakeasy: SATURDAY MARCH 3rd 2.00pm-9.00pm The Underground,

35 Robertson Street Hastings TN34 1HT. Details to follow.

Will.

 1.

Where did my country go, in leaving behind this vapid numbers machine, void of life?

Don’t ask after when I return to my homeland, for I cannot return to what was is gone.

And in tracing a line of history to better understand what went so wrong, seek not to ask when the banker became the butcher. Ask, rather, when the butcher became the banker.

2.

When the mechanic becomes the hangman, and the civil servant is inking death warrants.
When the architect is building camps. When the butcher has become torturer, will you hold your nerve? When the baton has cracked your skull. When freed detainees greet you, with a sodomised demeanour. When life greets you warm, simply because you’re alive, but you greet it cold, because you envy death.

3.

And ask not when the government became a speculator. Ask instead when the public became its shareholder. As Che Guevara’s bloodied final grin froths eternal, don’t ask for revolution. Seek after resolution. Turn fast the screws that fix your mind Let go the grip that holds your party dear. Back slap that fat grocer as the numbers whir. For you did not seek to stop his meteoric rise.

4.

Don’t look to divide, or ask when, or in who’s name your country, your town, your body, became franchised, to the economic war machine. Brave comrades, citizens, keen to be the revolutionary. The one who went that extra mile. The top comrade. But, enough, you are an honourable man. And so are we all honourable men and women.

5.

Do not criticise the colonel and politician, as they visit death upon the hapless. For war does not only rain as fire, from the sky upon the ground. Is not alone the saber for maiming. the dicktat for systematic killing. War’s stricken grimace is with you. Turned smile as you fund it and reap its rewards. Your war. Peace child.

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Out There

1.
Living in the cognitive realm you cannot understand what resides in the emotional realm.

Living in the physical realm you cannot experience living in the emotional realm.

Living emotionally you are unable to understand living spiritually.

Living in the spiritual realm you cannot understand living in the cognitive realm.

Living in the physical realm you will not live in the spiritual realm.

This is true for all the combinations.

2.

Yet living solely in the cognitive realm you will be blind also to the cognitive realm.

In the emotional realm you will be deaf to emotions.

In the spiritual realm you will be blind to spirit.

In the physical realm you will be mute to physical experience.

To experience one realm alone you must be open to all realms.

3.

It is incorrect to say, following Jung, that ‘mankind’ is in search of a soul.

For humanity – man and woman, kind – is in search of a body for its soul.

A mind for its body.

Emotions for its mind and its body.

Humanity searches for lived experience in a world deadened to it.

The human corpus and anima entire.

Where?

Wherever. We can be sure it’s not ‘in here’.

But somewhere ‘out there’.

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PLAY LIST_ 1: Internet Platform

PLAY LIST_ 1

ZAK Project Space, Castello di Monteriggioni (Siena)

14 January – 4 p.m./ 15 January – 12 a.m.

A series of video projections and a round table to reflect how the World Wide Web
has changed the geographies private and collective.

A meta-linguistic reflection, which investigates the web interconnectivity through the same means.

An Internet platform will host the work of the following artists: Andreas Angelidakis, Alterazioni Video,
Cory Arcangel, Marco Cadioli, Diego Caglioni, Gregory Chatonsky, Mauro Ceolin, Constant Dullaart, Chris
Heller, Arne Huebner, IOCOSE, Gretta Louw, Albertine Meunier, Claudia Rossini, Daniel Stäbler, Spam the
musical, Carlo Zanni, Theo Seeman.

SPECIAL GUESTS: Alessio Bertallot, Andrea Bruciati, Marco Cadioli, Vito Campanelli, Gloria Maria
Cappelletti, Mauro Ceolin, IOCOSE, Miltos Manetas, Fabio Paris, Domenico Quaranta, Elena Giulia Rossi,
Valentina Tanni, Carlo Zanni.
FOLLOW US online at www.ustream.tv

By 2015, global Internet traffic will quadruple. Over the past decade, the global spread of Web 2.0 has
revolutionized the approach to the individual network and the way in which the individual represents him
or herself and relates to the outside world. In a few years, we have moved from a simple passive use of static
hypertext documents, the typical Web 1.0, to a more accessible way of managing content, typical of online
applications such as blogs, IM, google, youtube, facebook , myspace, twitter, giving everybody the opportunity
to speak in real time and without space limitations. The urgency of sharing the intimate becomes more
pronounced as it increases the availability and distribution of these means of expression. The flâneur observes
the network, but at the same time wants to be seen as the protagonist of life that he has built. He plays through
a self-representation not only dictated by a desire for narcissistic self-congratulation, but also by an obsessive
search for consensus and approval from his audience that makes the virtual interaction and exchange more
intense. “The world wants to watch and be watched at the same moment” teaches Palomar, and just like Italo
Calvino’s character, the modern individual in his self-representation is a virtual window from which the inner
universe overlooks the outer and vice versa.
The expansion of Web 2.0 on a global scale also seems to have generated a change in the perception of distance
and geographical boundaries. This phenomenon would, in turn, helped to spread a general feeling of belonging
to a mutable and open world, the boundaries of which seem to constantly re-register. The internal geography
of the individual changes, alongside these territorial changes and, consequently, so does the relationship
between the individual and its territory of origin, intended as a socio-political space. While it will exacerbate the
impression of rootlessness, cultural nomadic orientation and of an intellectual challenge to the authorities, on
the other hand there is an increasingly widespread desire for membership within a free, non-political and non-
geographically localized community , representing a sort of alternative world where everything is possible.

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Is Art the Alternative?

Dialogue between myself and Mark Fisher at Frieze online:

 

 

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Falling.

https://docs.google.com/document/pub?id=1-JYjnGnpcEU9JBfoa4RDS1-2n-BwG-Q-hBYw78t06mY

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Your Love Repeats Itself, in Far Away Places —

Dedicated to you, who want a simpler and kinder world.

 

There is no love in bads-ville. Those mad and bad dogs marshal a hinterland. An expansive and infinite tar field, where love is pushed to the periphery, because it cannot enter into the grand count, in which everything is made colourless, because colours present risks. Above all, the risk of a world being entirely other to that we now live in. A world where things are not counted and categorised and controlled. A world which is unsafe because people will know how to love, dangerously and truthfully. Ruthlessly, even. For we live in a society where love has been stripped of its power. We love when it suits us, and when there will be a payback. We love for profit, when we know that love will be returned and will give us good feelings, good sensations. We love a selected few people. Good people, nice people, familiar people. Deserving people. We express our love with a pithy three word phrase. I. Love. You. I love you and I will protect you from the bad people, who are not loved, or who are loved by others. And those others are bad.

 

This is how we love. In our houses. In huddled groups. And in this way we can carry on our lives even in the knowledge that we fund faraway wars, in which people are pummelled and tortured and raped and killed. For eveything is ok if we are loved. For if we love and if we are loved we know it is not us who is killing people in faraway countries. Because killing is not love.

 

Yet the ‘others’ who are bad, who love each other but who you do not love, and who will never love you, those others who are richer or poorer than you, and more or less careful, decent, spirited than you, wouldn’t care if you were being raped or tortured in a faraway war. So long as they are loved. And you would not care if they were killed in a distant conflict. Would you?

 

But who told you to love only those close to you, only those who give you security and pleasure? Who told you what love is? Who encouraged a world where the protection of what is just and good became equated with safety from the indifference of those others who love each other, but who do not love you? As you all fund faraway wars in which innocent people – who love other innocent people, but who are not loved by you – are maimed and killed? Who? No one. For you have not been told to love, but to fear.

 

And does it not say something about our society, that whilst you love your friends and family, and some other ‘good’ people, both you, and those you don’t love – but who love good people – are paying for other people, who also love ‘good’ people, to be killed? In faraway places. Faraway places that never feel faraway when you’re the one being raped, killed or tortured in them.

 

But you do not love your friends and family and a few other good people because you want people to be killed in faraway wars. Rather, you love your friends and family and some other ‘good’ people because you do not want them to be hurt, maimed, killed, raped and tortured. These are ultimately the things you wish to avoid, and this is why you love. And your love springs eternal, like the wars you pay for, in faraway places.

MWatson 2011

 

Text written for:

COSA SI PROVA AD AVERE UN SUONO IN TESTA?
3’ traccia
Il paradosso della ripetizione

a cura di Elena Abbiatici e Valentina G. Levy

11 novembre – 20 dicembre 2011

Piazzia de’ Ricci, 127 – Roma

Vernissage 11|11|11 – ore 19

«Cosa si prova ad avere un suono in testa» arriva alla sua terza e ultima fase, con una collettiva dedicata al concetto di ripetizione.

Ryoji Ikeda e Carsten Nicolai. Lamberto Teotino, Gregory Chatonsky, Daniela De Paulis, Alia Scalvini

Nella ripetizione di un gesto, di una parola, di un elemento visivo o sonoro è insita una silenziosa volontà di arrestare il tempo e inseguire il mito dell’eterno ritorno, che si manifesta attraverso il perpetrarsi del presente, all’infinito. La reiterazione in loop di un oggetto-evento produce un eco del reale, che sfida le leggi spazio-temporali, dando vita a una dimensione parallela che trova origine nell’istante presente e in esso si rigenera, ciclicamente, mentre la sua matrice originale si proietta nel futuro, votandosi al non ritorno e all’oblio.
Secondo Deleuze, la teoria di Hume per cui la ripetizione non muta nulla nell’oggetto che si ripete, ma cambia qualcosa nello spirito di chi lo contempla, sarebbe alla base di quello che lui definisce il paradosso della ripetizione. La percezione della ripetizione sarebbe possibile, infatti in base alla presa di coscienza soggettiva di una differenza, d’un errore, equivalente allo scarto rispetto al reale.

All’ingresso si è accolti dal riecheggiare di lavori audio nati dalla collaborazione tra Ryoji Ikeda e Carsten Nicolai. I brani presentati sono estratti dal progetto CYCLO iniziato nel 1999 dai due artisti e non ancora archiviato, che costituisce una ricerca sulle sequenze errate e i cicli ripetitivi nei software e nella computer music. Gli artisti compongono i loro brani scegliendo i suoni in funzione della loro immagine, attraverso l’utilizzo di moduli audiovisivi per la visualizzazione in tempo reale del suono. (Un particolare ringraziamento a Raster-noton 2001, 2011).

Al piano terra l’installazione sonora di Lamberto Teotino (Napoli, 1974; attualmente vive e lavora a Roma), Luther Blissett è italiano, presentata qui per la prima volta, si compone di un ritratto ed una scultura sonora, capaci di riportare alla luce un personaggio/fenomeno collettivo. Un nome multiplo, uno pseudonimo collettivo utilizzato da un numero imprecisato di performer, artisti, riviste underground, operatori del virtuale e collettivi di squatter americani ed europei negli anni ottanta e novanta: un nome preso a prestito da un omonimo centravanti inglese di origine giamaicana ingaggiato dal Milan alla metà degli anni ottanta. Un’icona pop: Luther Blissett. Una voce di donna – della traduttrice di Google translations – ripete ciclicamente in maniera sintetica e didattica la frase da cui prende nome l’opera stessa rivendicando una presunta origine italiana di questo personaggio fittizio.

Accanto a lui Gregory Chatonsky (nato a Parigi, vive tra Montreal e Parigi) con Composition I, il primo di una serie di tre lavori realizzati, a partire dal 2001, attraverso l’uso di un programma informatico, creato dallo stesso artista, che è in grado di generare sequenze ripetute di estratti video, selezionate autonomamente. In Composition I, l’artista propone una sonata per pianoforte eseguita dal jazzista americano Keith Jarrett. Chatonsky presenta anche Traduction (2011), installazione audio creata appositamente per quest’evento in cui un brano estratto da Differenza e ripetizione di Gilles Deleuze viene letto da una voce di sintesi inglese, mentre una versione in inglese dello stesso testo viene letta da una voce di sintesi italiana. Il lavoro è frutto di una ricerca che s’interroga sia sull’arbitrarietà del concetto di traduzione come riproduzione, sia sulle infinite possibilità di errore dei sistemi informatici di sintesi che si basano sulla ripetitiva schematizzazione di funzioni matematiche.

Scendendo al piano inferiore, Daniela De Paulis (Roma, 1973, vive e lavora a Rotterdam) con 768.000 Kilometres (2011). Realizzato durante la residenza dell’artista al radio telescopio di Dwingeloo in Olanda, 768.000 Kilometres è il suono riflesso dalla superficie lunare della lettura del secondo canto del Paradiso, in cui Dante affronta la teoria della macchie lunari e delle influenze astrali. La voce viene inviata alla luna come segnale radio dall’antenna del radio telescopio, prima di essere riflessa dalla superficie del satellite ed essere ricevuta come eco da due diverse stazioni radio in Inghilterra. La doppia ricezione in due siti diversi ha generato il suono stereo, mentre l’effetto Doppler causato dalla rotazione terrestre ha generato la distorsione della voce. Altri fattori tuttavia contribuiscono alla distorsione, tra cui l’indebolimento del segnale radio causato della distanza percorsa e l”assorbimento’ da parte del segnale di onde radio di varia origine.Il titolo indica la distanza percorsa dalla voce come segnale radio, che impiega 2.30 secondi per viaggiare fino alla luna e tornare sulla terra.
Il video inedito in b/n Le Voyage dans la Lune (2011) completa il lavoro audio: ispirato al celebre film di George Méliès, “Le Voyage dans la Lune” e realizzato usando 25 fotogrammi delle fasi lunari, scattate da Michael Oates della Manchester Astronomical Society, è il primo video al mondo ad essere stato realizzato con immagini inviate sulla luna come segnali radio, poi riflesse dalla superficie lunare e ricevute dal radio telescopio di Dwingeloo. L’artista è infatti la pioniera del Visual Moonbounce, utilizzato per la prima volta nel suo progetto OPTICKS (www.opticks.info). (Uno speciale ringraziamento a CAMRAS, ASTRON, Jan van Muijlwijk e tutto il team del radio telescopio di Dwingeloo, a Howard Ling, Bruce Halasz, Fabio Santesarti, Marco Douma and Michael Oates – Manchester Astronomical Society).

La videoinstallazione Crossing the field di Alia Scalvini (Desenzano, 1980) ci proietta a sua volta in una nuova geografia. Ad un video registrato attraversando un campo lungo una linea retta è associato il suono di una pioggia di meteoriti che attraversano l’atmosfera interagendo con l’elettromagnetismo terrestre. Il video è proiettato su di un lato dell’igloo utilizzato come rifugio durante il viaggio mentre l’audio è udibile da speaker dislocati nella stanza. Il video è stato prodotto creando un loop di registrazione dello stesso filmato su nastro magnetico: ad ogni passaggio il gap tra l’emissione e la traduzione della frequenza elettromagnetica in entrata ha suscitato errori di codifica, quindi di scrittura dell’immagine. Il suono che accompagna il video è anch’esso la traduzione di un’interferenza analogica: una pioggia meteoritica delle Leonidi che muovendosi interagisce con la continuità dell’onda elettromagnetica terrestre. (Le tracce audio utilizzate nell’istallazione sono state selezionate in collaborazione con I.N.A.F. Osservatorio Astronomico Cagliari e rese disponibili per gentile concessione ).
In galleria il saggio “Your love repeats itself, in far away places. Dedicated to you, who want a simpler and kinder world” scritto per l’occasione da Mike Watson.
Contatti:
Elena Abbiatici – elena.abbiatici@gmail.com
Valentina G. Levy – valentinag.levy@gmail.com

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God is Deaf

[TEXT FOR AN EXHIBITON OF SOUND ART IN ROME CENTRE:  COSA SI PROVA AD AVER UN SUONO IN TESTA?  -- 2’ traccia Costruzione di una metafisica dell’assenza a cura di Elena Abbiatici e Valentina G. Levy 24 settembre – 4 novembre Opening 24 settembre – ore 19.30 Piazza De Ricci 127, Roma]

 

[...]

 

God is Deaf: Five Meditations on Noise

i.

‘Noise’, a perpetual residue of the universe’s origin, yet the universe did not have one origin, but two: its coming into being, and its coming into being for the human subject, such that the continuous coming into being of the Universe could be heard. Philosophy splits itself into two camps: Those who believe that the Universe has always emitted Noise, and those that believe that it cannot have emitted Noise prior to the advent of beings sophisticated enough to hear that Noise.

ii.

Letter to an ex-wife: ‘… and if you sleep with anyone else can you please do it in a soundproofed room, because I find the thought of the sound nauseating.’

iii.

On a screen in an empty room an automated stock market monitoring programme displays numbers falling rapidly, and silently. Its movement accompanied only by the faint hum of the computer heralds the start of recession, mass unemployment and war.

iv.

A GBU-43/B or ‘MOAB’ – ‘Mother of all bomb’s’ – is tested in the desert, just prior to the outbreak of the Iraq war. Containing 9’525 kilos of high explosives, apart from being able to destroy an area up to ‘nine city blocks wide’, the MOAB was aimed at creating panic in the Iraqi population so that they would then remove their own leader. Whilst that plan did not work, leading the US and UK to enter into a costly invasion, civilians subjected to the constant aerial bombardment that took place in the Iraqi Winter of 2003 suffer nervous disorders as a result of the noise to this very day. If there is proof God is deaf, it is because this noise could not be heard by the far away tax paying citizens of the invading countries. The notion that Noise cannot exist if there is no subject present to hear it is subconsciously utilised by the citizens of war-mongering nations to excuse their apathy and protect their comfortable lifestyles. If there were such a thing as divine justice it ought to include as just one aspect a cacophony of aerial bombardment, screams of the dying, and sounds of systemic rape and torture, played on a loop into the ears of those UK and US civilians who wouldn’t acknowledge, let alone speak out against the wars in Afghanistan, Iraq and Libya.

v.

A child eats crisps and asks his grandmother if she can hear the crunching noise as loudly in the room as he can hear it in his head.

Mike Watson. 2011.

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Recent Articles

Frieze

Physiogmony of a Nation: http://www.frieze.com/comment/article/the-physiognomy-of-a-nation/

(In Italian): http://www.artapartofculture.net/2011/07/30/la-fisionomia-di-una-nazione-di-mike-watson/

Review of Speculum Celestiale, Fondazione Morra, Napoli: http://www.frieze.com/shows/review/speculum-celestiale/

Review of Stefano Minzi at Lorcan O’ Neil: http://www.frieze.com/shows/review/stefano-minzi/

Art Review

(print and online) Review of Michelangelo Pistoletto at MAXXI: http://www.artreview.com/forum/topics/michelangelo-pistoletto-da-uno

Radical Philosophy

(print, online for subscribers): http://www.radicalphilosophy.c​om/issues/168

Upcoming

Review of Coinquilini – Guendalina Salini and Marinella Senatore -  at MACRO, Frieze (print and online)

Commentary on The Arts Cuts and response in Italy Frieze (online)

Preview of The Otolith Group at MAXXI (print and online)

Forthcoming Book

Joan of Art: Towards a Conceptual Militancy (Zero Books 2012/13)

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Joan of Art

AS PART OF NEW LEXICONS OF DARK EXHIBITION AT THE HOXTON GALLERY

 AN ESSAY ON JOAN OF ARC BY MIKE WATSON //

IN HONOUR OF HER DEATH DAY 30TH MAY

Joan of ART: Towards a Conceptual Militancy

Excursus/intro

Joan of Arc, madwoman and/or seer.

Yet it is neither madness nor spiritual adeptness that will be enquired of here, but the operative AND/OR itself.

For the ‘and/or’ cuts through the stifling din of rationality, which seeks to drown out the resistance of ‘spirit’ to the monotonous and deadly advance of capital through the imposition of scientific certainty, aimed at stifling the wayward peripheries of life.

Yet those peripheries are what gives life to an otherwise ossified subject.

We are unfree, subject to the runaway capitalist machine and/or free, capable of generating positive new realities. The and/or confounds reality as a militant conceptual tool. We cannot escape the auspices of capital and science in reality and/or we can, through the conceptual projection of our escape.

[…]

All Hail Joan of Art

For what rationality cannot tolerate is the ambiguity of, say, the madwoman who functions at high levels. The voices in the head which might be from God. Or otherwise put, the voices from God, which are ‘only’ in the head, when ‘in the head’ might only be possible on account of God. But further, the voices in the head which might in fact be both ordained by God and completely banal. The possibility that there both is and isn’t a God.

Joan of Arc could have been led by a mere mental malfunction, in that she believed to be hearing holy voices, when they were possibly ‘mere’ chemical interactions acting so as to delude their unwitting vessel, or carrier. Yet, given the abnormality of Joan of Arc’s rise to power, her military success and the considerable influence she has wielded since her death in 1429, it cannot surely be possible to speak of malfunction. And if it cannot be possible to speak of malfunction, it makes little sense to argue that Joan of Arc did not speak with and did not receive visions from those she claimed to communicate with, unless Joan of Arc was one of very few psychotics who randomly have the fortune to experience delusions which tally with reality in such a way as to be influential in the wider social realm. However, this latter approach – which is both the common scientitifc one and the one taken by her Christian persecutors – is lacking in the sense that it seeks to impose a hegemony of truth from out of the minds of the ‘rational’ into the mind of Joan of Arc. In so doing the rational mind supposes an ability to surpass it own physical boundaries and enter into the outside world of others, to say ‘what is true for me must be true for you’, which is precisely the mistake that rationality supposedly mitigates against – i.e. the assumption of extra-physical powers which can transcend measurable material boundaries.

Rationality, whilst seeking to rid the world of fallacies based on intutition, mental malfunction, hallucination and delusion, cannot entertain the possibility of different, or contradictory realities, even as these very possibilities are suggested by quantum physics. For unfortunately, the science of the pysche, the mind and the individual is prone to the very limitations of the mind, which in seeking to eradicate irrationality in terms a belief in ‘outside’ forces, replicates irrationality as a projection of the reality perceived by the mind onto what resides beyond it, including onto the experiences of a given individual, even when those individual experiences defy rationality. Whereas what would be truly rational would be to accept the reality of spiritual experience for the individual, synonmyous to its unreality for rationality. That is to say, there are two rationalities; the first being that which denies the reality of non-concrete experience, the second being that which allows for alternative realities. Rationality should be dialectically split down the middle, as the ‘and/or’ of ambiguous experience, meaning that, for example, Joan of Arc was deluded and/or divine, where the and/or represents simultaneously her madness on the one hand, her divinity on the other, and both her madness and her divinity at once.

What is politically significant here is the possibility given over to challenging hegemony – I refer particularly here to the dominance of capitalist interests – from within society, even if that society be completely dominated by hegemonic forces. For in a completely dominated society only a contradition of reality, proclaimed by the individual subject, allows for the possibility of transcending dominance. That that possibility must necessarily be thwarted is the very reason it must be engaged with, given that the alternative, to engage with our unfreedom as an insurpassable given – the knowledge of our irrevocable unfreedom – merely serves to play up to that unfreedom. This is indeed the principle error in the mainstream leftist hypothesis. The ‘us and them’ mentality, concieved in the interest that the individual is not hoodwinked into believing that they are free when they are not, further engrains the situation of the individual subject as embedded within a class struggle that reinforces hegemony, for hegemony relies on the struggle of the worker as a means of keeping the individual, and the group, in stasis.

A reinvigorated leftism requires a conceptual projection. We must first declare our freedom, in spite of our lack of freedom, but never in such a way as to forget that unfreedom. We are free and/or unfree. A proclamation that can only be sustained as an artistic statement, for only Art – above science, politics and religion – can be seen to deceive out of deliberate intent whilst still maintaining its integrity. Therefore the proclamation of our freedom is a conceptual art statement, out of which new social posibilities can emerge in practice, through the mimesis of educational and other social insitutions as art.

In light of the current education funding and fees increase crisis, a low cost accredited tertiary level education system, delivered as art, utilising art spaces and the personnel associated with them, as well as academics willing to invest time, would serve as a basis upon which to develop an art-conceptual militancy. Yet beyond this – an idea that almost suggests itself in the current political climate – the irrationality of art, the ‘and/or’ discussed above, should be utilised to challenge the self-serving rational of capitalism and rationality per se. For the clear and present reality of life’s material composition, makes the accumulation of individual wealth and power, at all costs and at the expense of other beings, appear to be the only viable path. The contrary path, towards a selfless altruism, makes little sense within a rationalistic framework, for if all beings are mere matter, there can be no sense in diminishing one’s own individual wealth or security for the sake of someone else. Ultimately only what can be counted – i.e. capital – can stand up to the auspices of rationality. For what can be counted is banal and lifeless, presenting nothing in the way of an anomaly which might otherwise raise the issue of its own pointlessness. For all activity outside the strict numerical count is pointless in a rigourously rational world. The numerical count only escapes such a judgment because it is from the offset utterly pointless, in that it merely proceeds along a preordained path.

Yet art, in its intrinsic irrationality, has no duty to truth and is by its nature opposed to the count. It is therefore for the artist to oppose the rabid individualism spawned by capital, and which in reality stifles individual freedom. The artist – and anyone can be an artist in this sense – must reclaim individuality from rationality, declaring themselves as free, a factor which must be demonstrated through the enactment of selfless acts – altruism for its own sake – as evidence of the rejection of the numerical count. Our galleries must be turned towards Charity shorn of religious or political obligation. All Hail Joan of ART; Towards a Conceptual Militancy.

— Joan of Art; Towards a Conceptual Militancy, from which the above text is adapted, is currently being written for ZerO Books. Mike Watson mike.r.watson@gmail.com creative commons. Distribute freely. Always cite author.

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Motion of a Nation

Also: Motion of a Nation VM21 Contemporanea Review, Mike Watson Online at Frieze
http://www.frieze.com/shows/review/motion-of-a-nation/

‘More than 30 international and Italian artists – working in video, installation and photography – contribute to Galleria V.M. 21 Contemporanea’s current exhibition, which ambitiously attempts both a ‘crosscutting view of the artistic scene’ and an examination of national identity…’

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Boicottiamo Sgarbi!…

… Political Wrangling within the Italian Cultural Scene

Rosella Biscotti, Italian artist, undoubtedly had no idea how much attention her boycotting of the Italian pavilion at the Venice Biennale would garner. Several weeks on she stands as one of just a few Italian artists willing to speak out against corruption, nepotism and stagnation in the arts in Italy. To understand this fully, an honest account of the political and cultural situation in Italy is called for. It is hoped that this will demonstrate that individual action by artists, curators and editors can build on the promise seen recently within the Italian contemporary arts scene.

For every proclamation of an Italian renaissance in the arts, those on the ground in Italy see a quite different picture. The corruption, stagnation and closed dealings which mire the political stage here are reflected in the cultural sector, where nepotism, favours for friends and closed dealings threaten to inhibit the promised emergence of Italy, and particularly Rome as a new centre for contemporary art. The trouble resides in a very peculiar mentality which, due to its very nature, is hard to place. Known since at least Shakespearean times for their backstabbing passive aggression the inhabitants of what has since 1861 (1870 with Rome as capital) been known as Italy are raised in a society where it’s very much a case of who you know over what you know, with those in authority having a perceived monopoly on truth. Though to be more precise, power is truth within the cultural field here in Italy: editors, curators and directors take respect to be a given, and not something which they must earn. To transgress this rule, to question authority, can lead to ostracization, which is why Rosella Biscotti should be lauded for her actions, which count for far more here than if they had taken place within, for example, the London art scene, where ‘attitude’ is a virtual prerequisite to success. Far from being a sign of guts and determination, in Italy the questioning of those who have gained an apparent level of success signals lack of readyness for it.

Within this situation, each separate powerful interest – museum, gallery, magazine, established artist, etc. – carries in tow an army of friends, followers and family vying for their favour. The trouble is that with so many interest groups – political, cultural and economic – stagnation is only ever as far away as the next contentious political or cultural decision. Speaking on a macro-political level, with separate interest groups poised to tear each other apart over political, cultural or purely regional differences, doing nothing often seems the best defence against a return to the ‘Years of Lead’, a period from the late ’60′s to the late ’80′s when terrorist activity bought fear to the nation; a threat constantly held over Italians. Understanding all of this is key to understanding how Berlusconi maintains power, for it is not purely as he bribes members of the Italian parliament and changes the law to suit himself. It also owes to the lack of a viable alternative: i.e. one that can prevent multifarious interests entering into conflict. Berlusconi’s government – headed by a man so unscrupulous as to pose no threat to the political extremes which make up Italian life for the very fact that he spends most his time merely passing policies to keep himself in power, and out of prison for corruption – ambles along as the apparently least awful of options. Yet at the same time, the emergence of some positive but as yet unthought of alternative is hampered for the media control Berlusconi holds and the sedatory influence it has over Italians.

All of this – as well as providing a much needed whirlwind tour of Italian politics (UK broadsheets rarely convey the situation in its brutal simplicity) – is relevant to the arts, in that Italian society at all levels operates as a closed, stagnant, insular and fragmented reflection of politics at macro level. That is to say, Italian politics is the way it is, because Italy is the way it is. In this sense, the much vaunted coming of age of Italian contemporary art, seen as manifested in the opening of the Museum of XXIst Century Art in Rome, serves to falter if the attitudes of the nation as a whole continue to be mirrored in the decision making that goes on within these art institution. Put simply, it is not enough to simply put contemporary works on display in museums, or to publish articles on contemporary art in journals. Things cannot reflect the impetus of the ‘contemporary’ – that is to say, the ‘ever new’ – unless the vitality suggested by contemporaneity can be reflected in the working processes and partnerships which govern cultural activity in Italy.

It is precisely this frustration which led Rosella Biscotti to protest in March upon the pages of Facebook against the management of the Italian pavilion at the Venice Biennale by Vittorio Sgarbi, a distinctly Berlusconian media product and arts writer, whose life story astounds for its political pragmatism and sheer determination to succeed as a public figure at all costs. In the course of his rise to household name, he has been a member of over 10 political parties as diverse as the Communist Party of Italy and Berlusconi’s own Forza Italia.

‘I have refused participation in the Italian Pavilion of the Venice Biennale, a populist operation aimed at representing our Premier, Berslusconi. Artists, you must refuse to participate in the Italian pavilion at the next Biennale,’ wrote Biscotti, on her facebook page. The move – which has garnered widespread support, including from Tania Bruguera, artist-activist and regular Biennale participant – is significant as Biscotti is the winner of MAXXI’s 2010 Premio Italia Arte Contemporanea, a prize given to young artists at a time when MAXXI (the national museum of XXIst century art)  is under fire for featuring too little in the way of recently produced art. It has been left to one of Italy’s youngest recognized artists to say what so many others have feared to say themselves. This reticence to speak out – for the ostracization it might cause within the cultural field in Italy – is palpable, leading on occasion to censure by galleries. For example, artist Stefano Minzi, now showing at Lorcan O’Neil, has been told by galleries in Italy over a period of years that they cannot show his series of directly anti-Berlusconi works out of a desire to avoid confrontation (‘anything but the Berlusconi‘). Of course, this may be an aesthetic consideration, though when Ugo Ferranti recently showed some of the said works as part of the recent group show Bianco e Nero, many people were drawn to see for themselves a rare example of artworks directly critical of a leader who has much to be criticized for.

In a bizarre twist to the story involving Biscotti, Sgarbi recently threatened to suspend his involvement in the Biennale just six weeks before it opens, for, amongst other things, lack of sufficient space in the Italian pavilion with which to carry out his plans. Anyone who has been to the Biennale will be aware that the Italian pavilion is ample, such that the question now is one over quite how Sgarbi managed to preside over the organisation of a show that apparently overspills a space that has been fit for purpose, in its various guises, since 1895. The nepotistic and political nature of the cultural sphere in Italy is apparent both in Sgarbi’s appointment as curator and in his handling of this post. Though there is some small hope coming through in the form of those young artists ready to speak up, unafraid of the consequences and unwilling to shelve ethical standards for the sake of career: something that is not to be underestimated in a country where few opportunities present themselves, and where those that are passed up may be the last an artist sees.

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Ugo Ferranti Review

Review of Ugo Ferranti show:

L’Art Reproduit

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Dialogue with Paul Sakoilsky

… on Art and the Object, reposted here: http://dialogicafantastica.wordpress.com/2011/01/08/object-culture-art-as-viral-commodity/

This text was commissioned for:

Object Culture: Art as Viral Commodity

1-3 Rivington Street • London EC2 Opens Thursday 15th April 2010 • 6.30pm onwards

RED GALLERY is a pop up housed in the old E-Learning School buildings on EC2’s Rivington Street. As part of Hackney
Council’s Shoreditch Regeneration Scheme, the space has seen much recent publicity, and will soon be demolished,
making way for an Art’otel, courtesy of architects Squire and Partners.

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Di.Kunst.Libri


images from Macro Roma

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Notes on Adorno in 1969

“I am the last person to underestimate the merits of the student movement; it has disrupted the smooth transition to the totally administered world. But it contains a grain of insanity in which a future totalitarianism is implicit.”

- Adorno, 1969, during the German student uprisings.

Appropriated, this quote might stand today, in light of student protests across Europe, though it is important to understand the quote in its intended context. Firstly, the ‘grain of insanity’ must not be taken at a conservative shying from the nature of protest itself, and, secondly, totalitarianism, for Adorno, was implicit as one of several forms of ‘domination’ which merely employed different methods to achieved the same subordination of the masses at the hands of the powerful. The grain of insanity which Adorno identifies is the tendency towards domination that characterises rationalist thought, which seeks to dominate unfettered nature, but results in a domination of man by man, and then of ‘capital’ over all men. Until this grain of madness is shifted there will be no move away from systems of domination, and any movement which attempts this will be caught up in the antagonisms of power struggle only to be defeated, or to become dominant themselves, and in such a way that perpetuates domination.

If today there is some truth in the quote it is not so much that the student movement and those around its periphery who wish to push the cause towards Marxism, socialism, and so on, run the risk of taking power and perpetuating the forces of domination, as they run the risk of perpetuating domination through protest, in that the play off of struggles at street level absorbs the resources of opposition to capitalism and allows the media to predictably cast the student movement as the expression of thuggery. This is not something which resides in the intentions of protestors, the ‘madness’ is inherent to the system – in the misguided attempt of humanity to dominate nature, which backfires as a domination of all people by capitalist exchange – and cannot been shifted using leftist methods, hence the left become embroiled in the madness.

The above quote comes from personal correspondence between Adorno and Marcuse, the latter writing from America, where the two German-Jewish academics spent World War Two in exile, the former having returned to Germany, where in 1969 he found himself at odds with his students, who were keen to rise up, as had the French student movement one year earlier. The exchange of correspondence from which the quote originates centred around Marcuse wishing to side with Adorno’s students in the interest that a moment ripe for political praxis is not overlooked, whilst Adorno urged caution, being that the conditions did not, for him, exist for genuine revolution to come about. Marcuse upset Adorno by asking that he can address the students personally upon his return to Germany during the 1969 Summer break:

‘But I do believe that there are situations, moments, in which theory is pushed on further by praxis—situations and moments in which theory that is kept separate from praxis becomes untrue to itself.’

Adorno responded that the risk resided in the student movement turning into its opposite, and further added that Marcuse’s criticism of the Vietnam war, a central rallying call of the student movement worldwide (note the contrast with today where, as yet, the student movement has confined itself with to student and academia centred issues) had an ideological element so long as he would not condemn torture at the hands of the Viet Cong. This element is key, for in its counter-intuitive logic, it signals the extent to which Adorno would not be drawn in support of any system or ideology, as much as he despised rampant US capitalism.

Marcuse’s response drives to the heart of the problem faced by academia during moments of mass uprising:

‘Like you, I believe it is irresponsible to sit at one’s writing desk advocating activities to people who are fully prepared to let their heads be bashed in for the cause.’

What is then suggested is that a new theory, equal to the moment, is needed. Though, rather tellingly, without sketching out such a theory, Marcuse instead goes on to characterise Adorno’s refusal to criticise America’s violent excess without criticising  the Viet Cong’s excess as a process of thought in favour of Imperialism. The key to the debate resides over whether all opposing political and social forces go towards making up a whole within which they are consigned to re-enacting the forces of domination, or whether some forces may be able to transcend domination. For both thinkers the latter was the hope, but for Adorno any such hope is subject to the former reality. This, for Adorno, marks why theory is praxis, in that theory may think through the negative social forces inherent to rationalist society, in a bid to think through and beyond them. And whilst the theorist cannot bear scars as witness to their commitment to the cause, so long as they are only theorising, much is put at stake through that theorising, when it is often easier as a theorist to protest physically in support of  inadequate political theories, than come up with a workable theory in the face of those who heckle and urge that one merely tow a preconceived line. Which not to say that it is easy to protest, or that there are not theorists who protest, and who are not content with what political theory offers at present, though they might better serve the cause of justice if they were more vocal at a point, today, when the voices of the old-Left drown out those from within a vast movement which in reality comprises many perspectives.

Echoing and expanding upon the opening quote here, Adorno finishes his correspondence with Marcuse on the subject of student uprising in the following way, giving the lie to those who perceive him as having been ensconced within the safety that his mere theorising supposedly enabled:

‘I am the last to underestimate the merits of the student movement: it has interrupted the smooth transition to the
totally administered world. But it is mixed with a dram of madness, in which the totalitarian resides teleologically, and not at all simply as a repercussion (though it is this too). And I am not a masochist, not when it comes to theory. Furthermore, the German situation really is different.—By the way, in an exam recently, I got another dose of tear gas; that is most burdensome, given my severe conjunctivitis.’

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Adorno seen on Far Left

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On the Name of Communism

On the Name of Communism, or

‘Julian Assange is Spartacus’

‘On February 18, some of their guards entered one of the compounds to find out which prisoners of war were Korean civilians who had been forced to join the North Korean army, and did not want to be repatriated. As the guards attempted to begin the screening procedure, there were riots by prisoners armed with iron bars, clubs and barbed wire. The guards opened fire, and seventy-five prisoners were killed. On May 7 the prisoners took hostage the camp commandant, an American, Brigadier-General Dodd, and demanded the right to establish a Communist organisation within the camp, complete with telephones and mimeograph machines. Their demands were met and Dodd was released.’ (1952 – Korean War). Martin Gilbert – ‘Challenge to Civilization – a history of the 20th century 1952-1999’. p6.

The above quote is testament to the resilience of the idea of communism, the name for a tendency in thought which Badiou, one of today’s most consistent champions of the cause, describes in the following way:

‘The communist hypothesis is that a different collective organization is practicable, one that will eliminate the inequality of wealth and even the division of labour.’ – Badiou, New Left Review 49, Jan-Feb, 2008

Such a basic principle has re-entered public discourse quite unexpectedly in the UK in the wake of a worldwide economic recession which has in turn led to the bailout of the very banking institutions responsible for that recession, at the taxpayers’ expense, and a corresponding wave of cuts in public expenditure across sectors to account for a subsequent shortfall in funding. A new counter-capitalist movement has gained momentum particularly in relation to the issue of cuts to further education expenditure, with the principal demand made that funding for tertiary level education be maintained at current levels, or – and, why, with nothing to lose, would the growing movement be content with anything less? – , indeed to restore free tuition to undergraduates.

This particular cause, which has had a great many advocates since prior to New Labour’s election to government in 1997, after which the then government, as is often forgotten, reneged on a manifesto pledge (their ‘contract’ with the nation) to resist implementing the university fees scheme proposed by the Conservatives under John Major. As a cause then it is nothing new or radical, indeed it seems to a great many people who education should be provided free, or at an affordable cost, such that people from all backgrounds (from those who pay, have paid, or will pay little tax to those that pay, have paid or will pay a lot of tax during their lives) can afford to benefit from learning up to the level they require, so that they may then develop their talents for their benefit and for the good of others. Yet somehow this has changed from becoming a common sense argument to a revivifying cause celebre for an emergent middle class leftism, effectively anticipated by the popularity of last year’s sold out 3-day ‘On the Idea of Communism’ conference at Birkbeck (this year sees the accompanying book being released in time for Christmas). It is perhaps coincidence that the cause which has converted the (across new and old media) anti-capitalist movement from the preserve of a hardcore of dedicated anarchists and eco-warriors to a movement peopled with students, artists and academics is one that has the issue of public versus private funding at its heart. The Socialist Workers Party must feel that their moment has come again, exonerated by the march of history foreseen by Marx. Yet as Badiou himself argues – though we will later see that here he suffers a sticking point – changing times require changed methods, rather than an adherence to dogmas aimed strictly at reaching the horizon (the horizon is always X many miles way):

‘It is foolish to call such communist principles [in relation to the hypothesis, quoted above-MW] utopian; in the sense that I have defined them here they are intellectual patterns, always actualized in a different fashion.’

Indeed, it is for this reason that I question the sense in maintaining the very word ‘communism’, for where Badiou and Zizek fall short, it is clinging to a vestige that by their own logic we would be better off jettisoning. Far from being radical provocateurs, in fact, academia’s two most vocal champions of the just cause appear hopelessly reactionary at the point at which they, as they did at the ‘On the Idea of Communism’ event, insist on maintaining the name of communism.

At the time of the conference, March 2009, this appeared as a harmless and irrelevant academic quirk, it being merely the ‘Idea’ of communism that had been evoked in name. Indeed, the whole affair came across like a Dungeons and Dragons convention, with people moving fantasy figures – ideas – around hypothetical worlds. However, if one might describe the 20th Century in Europe as the Socialist century, a period in which great pains, which, after all, didn’t have to be made, were made to give a great many people a minimum standard of living across the Western world, we are now seeing a reverse trend, which in fact started with the nationalization of the banking industry at the start of our current economic crisis. This move marked the beginnings of a form of State-backed Capitalism, not as the reigning in of the latter, but as the blunting of the State as a tool for the distribution of wealth to those in need.

At this point it is worth noting that whilst it is coincidental that the cause fought over by students and academics today perfectly embodies the maxim ‘from each according to their abilities to each according to their need’ – coincidental because in the case of this particular cause, the maxim merely represents common sense, not a desire to necessarily revive the spirit of Marx -, things have somehow realigned, in a quite unexpected way, so as to make this Marxist maxim appear as a viable and necessary corrective to the injustices that we face today. For today we see a society run on the opposite principle, ‘from the needy regardless of their means to the wealthy, regardless of their needs’, bought about via the sleight of hand discussed above: If the 20th Century began when the working classes demanding their rights, the 21st Century began with banking class calling in its ‘privileges’, under the guise of a worker buyout of the banks. As reported in the Telegraph, October 13th 2008: ‘Today will go down in history as the day the capitalist system admitted defeat.’ This was not, I would venture, a ruse on the part of the wealthy newspapers owners, or those in the banking industry who have influence over them. The ruse was played out by capitalism itself, a faceless and independent movement of forces by now beyond the control of the State, and even of business. So the banking class has benefitted on behalf of a system over which it has no control, which does not exonerate the banking class any more than it gilds the working and middle classes with the glow of a soon to be fulfilled destiny. Injustices suffered at the hands of capitalism do not prove the efficacy or correctness of left wing theory or political tactics. The current sense of triumphalism displayed by leftist academics and commentators both established and emerging – Zizek, Badiou, Pilger, Power, Seymour, and so on – is quite counter intuitive, for what we have seen recently is the total upending of the leftist ideal with no sign of the collapse of capitalism (in fact its protection is now enshrined in Western law to an extent never before seen). And so to argue that socialism, communism should somehow naturally step to the fore given its past failure, given that it has been the main opposition to capitalism for the lifetime, so far, of the latter, and that it has failed in this capacity appears nonsensical. Yet as the ideal that Badiou described (above), of course communism must continue and now is its time, in that now the ideal of a fair and just society must be pursued before capital gains a stranglehold and removes permanently the ‘e’ from humane. It is this ideal that Zizek defends, against its modification by those who seek to fit the communist ideal into a changing world, rather than assessing the changing world in terms of an irreducible concept of communism:

‘Postmodern society, risk society, postindustrial society, informational society… They, I think, miss what is really new. The only way to grasp what is new in the new is to analyze what goes on today through the lenses of what was eternal in the old. If communism is an eternal idea then it works as a Hegelian concrete universality. It is eternal not in the sense of a series of abstract features which can be applied to every situation, but in the sense that it has the ability, the potential to be reinvented in its new historical situation. So my first conclusion: to be true to what is eternal in communism, that is to say, to this drive towards radical emancipation which persists in the entire history from ancient times of Spartacus and so on, to keep this universal idea alive one has to reinvent it again and again. And this holds especially today.’ – Zizek, What does it mean to be a Revolutionary Today?’, Marxism 2009

Herein resides a paradox, for either the fundamental notion of communism as the Ideal of a society in which wealth is equitably distributed according to ability and need is concrete ad unchangeable, or it is something that needs changing to suit a changing world. Yet Badiou and Zizek argue for the constant reinvention of the notion of communism, so long as communism remains. And here a very Hegelian reading of Marx is evoked, in which revolution is cast not as a revolution from one situation to another, but as a perpetual revolving, in this case between communism in its fixity as a given notion and the idea of communism, as a potentially changing idea. In terms of political praxis this reading of Marx can actually be interpreted as bringing about stasis, as the two equipotent forces of communism as practiced ideal and not-communism (the reality, the difficulty in maintaining the ideal) revolve in a perpetual struggle. In terms of academic discussion, the pure Idea of communism suffers equally, caught between its need to transcend and find a new mode of expression, and its need to remain ‘communism’, which is a quandary that ‘communism’ as ‘communism’ will always face, for its tendency is to aim towards what we don’t yet have, yet it is always required to do so from the purview of where we are now, as communism as a projected Ideal.

It is this tendency, to throw oneself ahead of oneself which thwarts the communist ideal naturally. Yet it seems odd that our supposed greatest minds let themselves be trapped in this way. For Zizek identifies a tendency towards justice, in the story of Spartacus, as does Badiou, and both miss what is otherwise blatant in so doing:

‘Popular revolts—the slaves led by Spartacus, the peasants led by Müntzer—might be identified as practical examples of this ‘communist invariant’. ‘ – Badiou, New Left Review, as above.

Firstly, the tactic of declaring communism as an invariant which we must adhere to, and then backing this up with recourse to the story of a slave rebellion which occurred some 1860 years prior to the French Revolution is so poor as to not even attempt deception. If the ideal of justice has a name and that name must be, unchangeably, communism, then Spartacus, and indeed Müntzer, who took part in the German Peasants revolt of 1525 are retrospectively embedded within the invariant which is communism as an Ideal which must seek new channels and new modes of expression, whilst not departing from the fixity which reality imposes on the Ideal, as unrealised and unachievable end. For to cast the dream of communism back upon earlier uprisings and revolutionary movements is to effectively involve then in the failure to overcome domination. Yet might it not have occurred to Badiou and Zizek that Spartacus and Müntzer have nothing to do with communism? This almost seems too simple now, yet it opens up a possibility that if what went before, in terms of movements keen on seeing a just and fair society or community, was different to communism, then there may be such a thing as a sound movement for equality and justice possible today, which does not fall prey to the pitfalls of communism. And this is without even getting on to the unpopularity of the word in most circles, the difficulty in persuading the public to rally behind it, for whatever historical reasons. Yet above and beyond this, we have seen it is not like every other word, for due to its meaning it is caught by its nature in a stasis between what might be, and what is, the working away of an Ideal upon the forces of the real world.

Words often serve to trap us where freedom is concerned, and they do this as they participate in the real world. ‘Politics’ originally meant ‘to do with citizens’, yet politics is rarely to do directly with citizens, or even, as we in the UK are, ‘subjects’. For today politics most commonly evokes argument, or a series of arguments, and people are often careful to dismiss what is ‘just politics’, or what is merely ‘politics’, as a cipher for petty wrangling or bureaucratic knotting, which serves to prevent rather than expedite decision-making and action. This is not least because the notion of actually doing politics in reality requires first the notion of freedom, which Badiou and Zizek insist on calling ‘communism’, the communist hypothesis, where a new kind of labour relations might be envisaged, to be made concrete, yet as an Ideal the gap between reality and a hoped for deliverance from it will always be wide, like grasping forever at the proverbial horizon. Indeed, politics today is not a means of organizing power for the benefit of the citizenry, it is more commonly a blockage of power, maintained by close but opposed arguments. Politics as the practice of power is stuck, and communism, as an ideal of freedom is stuck outside of it, looking in, paralyzed by the injunction that it must stay the same, always reinventing itself in order to do so. Everything within the Capitalist whole, of which communism is part, if we take the argument that the world has been completely commodified, is perfectly poised for stasis.

Yet tears can be and have been made in the fabric of a ‘politics’, which blocks out positive interaction with and development of arguments, and these have not come through the envisaged struggle of workers protests – pickets, occupations, marches, riots – which in any case represent the activity of people whose only recourse, not having means to communicate and bargain through other channels was physical representation (being somewhere, staying somewhere, taking something etc.). Yet in the popular representation of Spartacus (Kubrick 1960) it is not an intervention in the means of production or the ownership of space which represents the filmic revolutionary moment (which in fact almost certainly didn’t happen in reality, other than in the reality that is the film).

In the film, the Greek slave-rebel Spartacus faces the soldiers of his enemy Crassus, who ask that he, out of the several thousand men assembled, present himself for capture and certain execution:

I bring a message from your master…

Marcus Licinius Crassus…

commander of ltaly.

By command of His Most Merciful Excellency…

your lives are to be spared.

Slaves you were…

and slaves you remain.

But the terrible penalty of crucifixion…

has been set aside…

on the single condition that you identify the body…

or the living person of the slave called Spartacus.

The response of Spartacus’ men is to individually claim:

‘- I’m Spartacus! – I’m Spartacus!’

A displacement of reality, circumvented by hubristic ruse, and in this sense not a representation of communist solidarity, for this does not mark a gap between a hoped for Ideal and reality, but the altering of reality as everyone becomes Spartacus, individually and on their own say so, whilst ‘Spartacus’ as a word represents at that point a circumvention of the political system. It is indeed the opposite of the ruse played by the inmates in the Korean camp (opening quote), who, communist or not, are in any case still imprisoned, first by the fact of being physically in prison, secondly by their adherence to an Ideal for which its perpetual distance from its aim (freedom from the prison that is the gap between reality and desire) marks an incarceration of thought within reality.

Arguably, indeed, this is not a political act, as an organization of power from the top down, or bottom up – politics as the ordering of the mass of citizenry. It is more akin, indeed, to the artistic statement, by which this or that artwork or this or that banal object, might be declared as ‘art’, a ruse which takes the individual administered object and presents it as ‘free’, above and beyond the confines of mere commodification. And it is indeed ‘art’ which might be a better course of appeal these days than ‘communism’, cast as a perpetually thwarted hope for ‘politics’. The Ideal of communism, as the very simple notion of fairness and justice must be maintained, but the name and the means must be changed.

As Julian Assange, WikiLeaks spokesman currently resides in a UK court, pending deportation to Sweden, it is worth noting the similarity between the functioning of WikiLeaks and the filmic representation of Spartacus above. Deception, evasion and individual participation in the declaration of freedom, of the ability to act, to throw off the strait jacket of recent political history, of the recent history of freedom movements. Julian Assange is Spartacus. No I’m Spartacus. No I’m..

Mike Watson is working on a forthcoming publication by ZerO Books, Joan of Art: Towards a Conceptual Militancy. He lives and works in Rome.

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Art – An Atheism Par Excellence

If the activity of the artist seems frivolous in times of economic hardship this is in apart due due to the artwork’s ability to stand aside from the indignities of financial squalor, just as the best art stands aside from the indignity of gross wealth in times of prosperity – only in those times its message is drowned out by the din of the superstar artist, for which barely any remnant of Art truthfully remains, bar its name.

The artist appears as frivolous, unable to commit to or to resolve issues. The artist is an Atheist par-excellence, for whom not one belief, not even a belief in the image or idea which he has committed to the page, the space or the screen, can be held to be true. Constant revision and doubt forms an amoral apology for the ruthless certainty of Politics, Religion and Science.

Art cannot bemoan the current state of the economy: The financial industry wakes periodically to the illusory reality that is, in any case, Art’s premise.

Art as the Atheist par excellence makes a commitment unto nothing, yet this is not the commitment of the Nihilist, who makes no commitment unto anything.

Art’s Atheism must doubt even itself; the opportunity for finding God under an upturned stone is acknowledged, though he is more likely to be found in the rock itself. Or better, the possibility of finding a fair society under a rock is acknowledged by the artist, though it more likely to be found in the rock upon which the artist works, and let that rock be society itself.

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Mourning Star: The Cul-De-Sac…

Mourning Star: The Cul-De-Sac we’re in.

—I see the best minds of my generation destroyed by madness, smacked up on Marx and Badiou.—

It seems that there is a ‘genuinely combustible left‘ emerging across Europe, though in what way it will combust is anyone’s guess at this point. The much wished-for platform from which to again mount a socialist opposition to capitalism has arrived, – coming from the student and academic fraternity, in the form of opposition to an increase in top up fees – yet caution must be exercised, for it seems that all too easily issues are being grouped together under an anti-capitalist or socialist banner with little consideration for desired outcomes. The ‘genuine’ left understandably returns from its exile from the political scene as consistently opposed now to any form of payment for further education as it always has been. However what surprises is the way in which leftist policy as a whole appears to have changed little. Arguably this is due to the fact that modifications to leftism over the last 15 years have marked in reality a slippage of the left towards Liberalism, via a ‘Third Way’ system of politics championed on both sides of the Atlantic. With the modification of the left monopolised by the New Labour movement it is natural that, following the catastrophic failure of the modernisation process, – and to be sure, ‘catastrophic’ is no exaggeration, two wars in, with civil liberties severely curtailed and a relatively poorer ‘middle’ and ‘working’ class – the left understandably finds itself in a pre-Blairite frame of mind. Yet it will here be argued that this is a reactionary path which should be curtailed in the interest of freedom and equality, rather than being a revolutionary path leading to retribution for the long mourned after collapse of the promise that Marxism once held.

Free tuition was ended in 1998 by Labour as a ‘contribution’ to fees was demanded from students whose parents earned above a certain income, whilst maintenance grants were simultaneously abolished, with actual ‘top-up fees’ – as an extra contribution to fees chargeable by individual Universities – being introduced in 2006. Certainly the introduction of fee contributions and top-up fees appears to have been as ideological then as they are now. And for that reason it is reasonable to look to change the system which demands that top-up fees are raised, rather than merely ask for a reversal of the decision to increase fees, or, indeed, charge them at all, because that system will continue to fail us one way or another. However, those who already smell blood should be wary, for a change in government would achieve little in the long-term, even if such a move entailed a dropping of the proposed top-up fees increase in the short-term. In fact, a change of government would send a disastrous signal to the Labour Party, who have far from even begun the soul-searching demanded by their wrecking ball of a tenure in government, that they might continue in the same vein as before. Moreover, it would send a signal to the left that they have won a victory – which would , as will be made clearer throughout, be short-lived -, bought about by pursuing old-leftist policies and tired activist methods.

The problem here can be thus described: as is often said, it is perhaps easier to envisage the end of the world than the end of capitalism, yet the bind here is that the world is capitalist, not that, as is implied by many a leftist academic, the world is potentially socialist, communist, but has been made sick through an un-shiftable capitalist virus which has made it host dependent on it. To be sure, it is true that the world has been made sick by capitalism as an un-shiftable virus, but that does not mean that socialism is the cure. Socialism has been trialled out as the cure for two hundred years, was dropped for its ineffectuality for not quite fifteen years, and now has been retaken up, without modification, and without other options being considered. This is nothing less than suicide. Who, except for perhaps a capitalist pharmaceutical company, to be fair, would knowingly prescribe ineffective drugs for the treatment of a cancer? Whoever, they would indeed be aiding the cancer, not the patient.

To be sure, in line with Mark Fisher’s comments here, the ConDem coalition is a weak government that could fall, and could indeed be pushed over the edge by the student movement. Though again one must be careful here – and this is really the crux of why I am dubious about today’s leftist movement – for the proposed top up fee increase that the ConDems wish to implement was conceived following the findings of a report commissioned by Labour. We cannot wish for a return to the party which gave us fee contributions, gave us top-up fees, then gave us the idea that these fees should be increased, without being capped. Labour had to go, and tuition fees indeed were the least of the reasons.Even though we know that the Tories would have entered into the Iraq war had they been in power in 2003, the party that took us in, and which removed many of our civil liberties, had to be removed from power as an indication of public discontent. The fact that the Conservatives received no solid mandate to rule says, if anything, that the voting public were aware that all options were equally limited. Sensing that we are on a fast track towards ever more capitalisation of services, ever more inequality, basically a perpetual fine tuning of the capitalist machine, oiled by deception and hypocrisy, voters could little bring themselves to award anyone the leadership of our country. Given this it is sad to see the limited scope of opposition to what abounds for all to see; a capitalist continuum which has no one at the helm, and which is merely ridden for a while here and there by ruling elites and governments who no longer really rule, but administrate on behalf of the business class. The very reason that the public voted so cynically is the reason why new and bold initiatives are needed in tackling what are clear injustices. I do not see this in the protests taking place, even in the novel protests staged by groups such as the ‘University For Strategic Optimism‘,which has made a name by staging ‘lectures’ in public places such as banks and supermarkets. Certainly the University For Strategic Optimism appear to want to find genuinely new optimistic strategies, as stated at the end of its inaugural lecture, held in a branch of Lloyds TSB: ‘There are many good reasons for strategic optimism. There are alternatives. Join us in looking for them.’ Yet,methods employed appear, if anything, thoroughly pessimistic so far as they aim at pressurizing through spectacle (no bad thing in itself) the government and ruling elites into reversing their decision to raise top up fees, whilst providing access to information relating to the ills of capitalism in a free, no cost and open space (the emphatic ‘No!‘ to proposed government cuts stated on their website). Though the pessimism here resides not in the policy message, or even the means of deploying it (though more on this later), but in what is missed here: the University for Strategic Optimism sets up a free ‘University’ to demand that tuition be paid for by the State. Yet if it were truly possible to run a free University, free of cost, or certainly at a low-cost, and free of State intervention, then surely there need be no recourse to the State, which is a puppet of big-business, in any case. The alarming lack of imagination here can be identified as the polar thinking of people clearly well schooled in leftist critique versus capitalist business culture. The second Lecture delivered by the ‘University’ in a branch of Tesco’s pours scorn on ‘corporate degrees’ unveiled by the international supermarket and points to the failings of a completely commodified tertiary education system. The mistake here resides in an overwhelming negativity often associated with the left. Because to be frank if Tesco’s want to provide vocational degrees and the government are willing to go down this road the alternative cul-de-sac of bleated criticisms, and begged policy reversals, makes for an ineffective counter, especially when you ask that it be financed by the very system you find fault with. If the University for Strategic Optimism has a role, might it be in providing an education, the one they bemoan the loss of, or in thinking how it might be provided? For whatever the rights and wrongs of the government’s withdrawal of education funding, we simply cannot keep asking that they keep sustaining us, being as they don’t want to, and being that a great many of us clearly have contempt for them,whoever they are (the long-standing myth that only the Lib Dems could save us has now been blown out of the water). In short, there seems to be a lack of coherence here; either the leftist movement is hubristic, imaginative and forward-looking, or, as suggested, it is weak, dependent and backwards looking in it activist methodology and policy outlook. Another group, the Really Open University (ROU) look promising, in that they seek to engage with new ideas in order to create a ‘free and empowering education system where creative and critical thought is fostered’ whilst changing ‘the expectations that people have of higher education, and by extension, the rest of our lives.’ Yet their employment of the tactics of  ‘strike, occupy, reform’, quite unnecessary to the intended outcomes, puts paid to an otherwise sound call for passive resistance and reform.

As Zizek says in the trailer for ‘Marx Reloaded’, ‘We are in deep shit, and we know it’. Indeed we are, but as much due to the sorry state of the academic left as to the dismal direction of the right. Yet whilst we expect the right to be ineffective in maintaining a fair society, we ought to demand that the left is effective at campaigning for, and implementing one. To be sure, we live in a completely commodified society (we see this in education, health care, law enforcement, in every aspect of life), and here one could mount a defence of Adorno, who refused to side with his students in 1968, precisely because changes to a completely commodified society would be changes within a commodified society and not away from one. To admit of the problem of total capitalisation is to admit that socialist activism is merely a part of the capitalist whole. Further to that, even stripping away the aspect of commodification, we still need overcome the inherent tendency towards domination, of man over nature, of man over man, and of capital, as a runaway train, over all men. Anti-Capitalist activism is but an Incorporated aspect of the whole. Those who think – John Pilger amongst them – that student tactics have taken the system by surprise, seriously underestimate those who plan for power. That unfair fiscal and spending policy would lead to protest was the only given this year. That they would be student protests hardly surprises either. All that is missing in this historical puzzle is the ensuing and, yes, appalling victory of the right, and a simultaneous entrenchment of the left, who in their resentment will be further convinced of the justification of their theories and methods.

On activist methods, Fisher has said recently that a growing sense of anger gives rise to optimism, and I will repeat what I said separately on the pages of Facebook to him, in a discussion that I feel was public enough to cite:

“And as for anger, maybe sometimes it can provide an added burst of energy, more fuel for a tough battle ahead, the impetus and courage to see things differently. But often it leads to poorly informed emotional responses to social and political situations, the parroting of lines and postures associated with resistance and opposition, nostalgia, seeking refuge in like-minded groups (which won’t help if you have the wrong idea in the first place).”

Unfortunately, anger will lead to aggressive acts, real and perceived, and the media machine is more than capable of twisting these acts to their benefit. It also clouds the ability to think and leads to passionate and nostalgic deployment of arguments and actions. This is sad as what is clearly needed, and Fisher and the University of Strategic Optimism seem to concur here, is new ideas, and whilst these can develop out of anger, such an anger is a quite different kind to that expressed on the streets. Directed, well focused anger can lead to moments of lucidity, and there is much to be angry about. However, it seems there is also much confusion circling around with regard to what constitutes reasonable anger and, indeed, violence in these extraordinary times which demand, undoubtedly, a genuinely combustible new political idea.1 That is, an idea that catches on and ignites a change of direction in the world. There is more chance of this happening as a result of the activity of WikiLeaks, and similar technology led manifestations of the will to freedom – and who would doubt that recent events mark a kind of revolution? – than as a result of occupations and marches.

An overthrow of the State and of the business class could indeed not come about without a deeply violent period ensuing, and it would not be a battle which could be won by the left, for less powerful States have fought off the threat from much more powerful opposition movements many times in the past. Indeed, at this point a passive resistance movement, defined as such, is called for. Now, undoubtedly the student protests are by and large peaceful, but they are not actively so. If, as seems to be the case, and rightfully so, the issue of fees is to be amalgamated with the wider issue of capitalism and its unfairness, then the issue of violence cannot but be addressed, both in the Zizekian sense that a kind of violence cements capitalism continually, and in the sense that conflict between interest groups, between classes, and between, indeed, man and unfettered nature is always a violence. The question is over what is aimed at with aggressive sloganeering, with occupations and impromptu ‘in joke’ gatherings and actions in the public space? These actions do much to excite the participants of such actions, and naturally anger the institutions against which they are aimed. Yet for cunning and efficacy such actions score a ‘zero’, and, even though they are peaceful, aim at an alienation of an already alienated public.The trouble is that the left appear to be again going through the motions of ressentiment, as Nietzsche would have it, a re-feeling of the pain of failure and loss that ‘fair minded’ people have felt for the whole of history. This indeed is the trouble with clinging tightly to the policies and trappings of communism as we approach a capitalist system which has moved on unimpeded during over a century of leftist failure. Last year’s ‘On the Idea of Communism’ conference, attended by Badiou and Zizek, might have set us free from this trap, but predictably it was decided that we must retain ‘communism’ as a word so that we might ‘own’ a history which we could reflect upon and grow from. Such stupidity has gone largely unchecked, though it would be interesting to see what might have happen if the world’s greatest minds had gone about re-formulating the left from the bottom up. I say stupidity, because the history of communism is checkered with failures and is, after all, only one manifestation of the desire for a fairer, more humane, world.

Whilst the right has moved seamlessly with only temporary setbacks on the way to realising a complete commodification of society, the left gets repeatedly stuck, for lack of ideas, for emotionalism, for constant triumphalism, the left, indeed, seem a bit like the English football association and its die-hard fans, in that they laud long past grand victories, take excessive confidence from occasional lesser victories, fail to understand what decade or even century we are living in, get given a bad press for the actions of the violent few within their ranks that they somehow can’t shake off and, most significantly, cannot read signs pointing to impending failure though the same signs come about decade upon decade. They tend, indeed, to say thing like, ‘well in 19– we had a similar situation and that went well for us, so now in 20– given the similar favourable conditions we can assume a victory’, yet the logic of Alan Hansen, which does not in itself work for football – he and others often miss that small victories were usually eclipsed by the same adversaries, or by the same weaknesses in the national side – cannot be the logic of the academic or street-level left.

Problematically many people are even in this day and age incredibly loyal to the political cause they follow, making Bush’s ‘if you are not with us you’re against us’ appear as the unspoken refrain of the leftist movement. It seems to be this which hampers any progress with, worryingly, some students complaining that their University occupation has been gate-crashed by unwelcome causes, meaning, that not only are the old guard misled, but they seek to mislead. From the Guardian’s Patrick Kingsley:

‘Longhaired and big-booted, revolutionary socialist Luke stands up in front of a meeting at the Leeds university occupation, and prepares to speak.

“Comrades . . .” Luke begins – and, from the back of this lecture theatre filled with 200 undergraduates, school students, trade unionists and parents, comes an instant, shouted response.

“DON’T CALL ME COMRADE.”‘

The article goes on to say that for many people it is the school children, often bunking off from school, who are bringing the real optimism to debates, and, fortunately, we have a generation who have not been brainwashed by leftist rhetoric, but who have grown up under a more uncertain, and no more feasible pragmatic politics. They have grown up media savvy, and will find it hard to believe much of what they are told by anybody. Indeed, capital has taught us to be incredulous towards anything and everything, in part as we have learned to see through the various ruses that are thrown our way daily, in part because such a level of uncertainty is conducive to the growth of capital. Where possible, despite the latter negative connotation, this must be taken as a tactical advantage by the left, and in this way the left cannot be seen to fail an innocent and open-minded generation with back-slapping rituals, close-mindedness to innovation, a tendency to fetishize the symbols of revolutions past, and triumphalism at every juncture, something very much sensed in the comments of prolific bloggers, journalists and activists. In fact it seems, to draw close to psychology, that every generation re-lives the failures of their past, of their parents’ past, and passes them on to an unsuspecting and undeserving younger generation, but this is a cycle we don’t have to repeat.

It must be noted that whilst many feel they can smell blood, it may be that the ConDems survive this battle, and if they don’t whatever concessions they make will soon be overturned one way or another. Fees for tertiary education have been opposed at every juncture since the 1990′s and concessions and assurances have been made all along the way – and yet they have rises, and will in all probability continue to rise. And this last observation does not derive from an acute cynicism, but from the mere realistic observation of history; that every concession by the right is temporary and incorporates itself within the patient, steady onward march of capitalism. Often, continuing on this subject, but diverging briefly, the Poll Tax riots are taken as a successful example of protest against capitalism and Toryism, yet the Poll Pax was effectively continued in any case, as the Council Tax, and was revoked in name only in return for a 2.5% hike in VAT, which will soon rise to 20% (from its temporary ‘low’ of 16%). The reality is that there are few successes for the left to speak of in real terms, given this fact it is time for people of conscience to radically rethink their strategies, for to do otherwise will waste an opportunity for change which may be our last. Put succinctly, if capitalism is violence, and if the whole of society is capitalist, then everything that does not challenge and convert capitalism – leaning on it with cunning, to diversify from a pure pursual of capital, to an engagement with equality of opportunity and resources – contributes to violence. In this light the left has to be very careful not to squander this moment playing a role rather than taking decisive warranted and measured action based on sound ideas.

The tools of capitalism must be turned against it but without making victims. A mimesis of the means of capitalism – which thus, as mimesis, evades a backlash from capital against its overturn – with concessions made towards ethical decency is possible. To use one example, a lightweight model of education, free of the costs of excessive administration, building maintenance and too many support staff is conceivable, employing a mixture of peer review, internet delivered learning material, local support networks, remote and local supervision. Such a model would find funding, and it is within such a system that strategies for a fair just society could be explored, ones which don’t involve selling the philosophical farm and reverting to knee-jerk calls for socialist or communist governance. That this is not more closely explored, as one of a number of initiatives which remove creative forms from the auspices of the State and pure-profit seeking oligarchs is a crying shame, and tallies on the whole with the embeddedness of the left and of academics within a system which has no interest in their success. What is now risked is that the left loses this battle, either now or a few years down the line, yet continues within the academy, repeating age-old doctrines in an apparent defiance of a system that it is ensconced within.

1This coming often from the usual quarters, Zizek, Badiou. There is not time to unravel this argument for and against violence here, though it is enough now to say that whilst violence is advocated by Zizek, he never explicitly encourages it. Lecture attendees can content themselves that they have taken part in the abstract condoning of violence, whilst their less lucky peers run the gauntlet that is deepest Hackney, the outskirts of Paris, or wherever, not as cultural migrants, but as people who are stuck in a violent cycle. ‘Hate breeds hate’.

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Art Monthly article, ‘Cuts Both Ways’

New Art Monthly article  Dec/Jan edition

Education

‘Cuts Both Ways’

Mike Watson argues that artists should abandon

the accredited university system.

excerpt:

- ‘Adorno famously remarked that it is impossible to make art

after Auschwitz because the necessary conditions simply did not

exist to allow for its production in a late capitalist society, and

Fredric Jameson later quipped that, in the post-Soviet world, it

was arguably impossible ‘to read Adorno by the pool’, now it

might be said that it is becoming difficult to read Peter Hallward

in the dole queue.’

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