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Tag Archives: Dmitry Vilensky

Aesthetics

ARTLEAKS

7th of November 2012, 7pm, Khalili lecture theatre, SOAS.

Presentation of the international platform ArtLeaks and on the urgency of launching the ArtLeaks Gazette
Corina L. Apostol, Vlad Morariu, Vladan Jeremic, Dmitry Vilensky

ArtLeaks is an international platform for cultural workers where instances of abuse, corruption and exploitation are exposed and submitted for public inquiry. ArtLeaks stresses the urgent need to seriously revise these workers’ relationship with institutions, networks and economies involved with the production and consumption of art and culture. The goal of ArtLeaks is to create a space where one could engage directly with actual conditions of cultural work internationally – conditions that affect those working in cultural production as well as those from traditionally creative fields. Furthermore, ArtLeaks is developing in the direction of creating transversal alliances between local activist and cultural workers groups, through which we may collectively tackle situation of repression and inequality.

While building on previous models that emerged in the highly politicized milieus of the 1970s and 1980s, such as the institutional critique practice of left-wing collectives like Art Workers Coalition, The Guerrilla Art Action Group, Art & Language, PAD/D, Group Material to name just a few, ArtLeaks seeks to expand the scope of these historical precedents towards international geo-political engagement. One of the outcome of ArtLeaks working assemblies was the establishment of alliances with international groups such as: W.A.G.E.(NYC), Occupy Museums (NYC), Arts & Labor (NYC), Haben und Brauchen (Berlin), the Precarious Workers Brigade (London), The May Congress of Creative Workers (Moscow).

For the 2012 Historical Materialism Conference, members of ArtLeaks will present the outcome of their previous working assemblies which took place this year in Berlin, Moscow and Belgrade and bring up for discussion the urgent need to establish ArtLeaks Gazette (forthcoming 2013). This regular, on-line publication aims to be a tool for empowerment in the face of the systemic abuse of cultural workers’ basic labor rights, repression or even blatant censorship, and the growing corporatization of culture that we face today.

More about the ArtLeaks Gazette: http://art-leaks.org/artleaks-gazette/

More about ArtLeaks: http://art-leaks.org/

 

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2001

ART: WHAT’S THE USE?

Symposium

Art: What’s the Use?

Friday 14 January, 2011. 11am-6pm
Zilkha Auditorium, Whitechapel Gallery (£15/£10 conc.)

How subversive really is the social uselessness of art?  Could art play a more directly functional role in culture? Dean Kenning and Gavin Grindon challenge the idea that art should be allowed to take critical positions safe from any real intervention. Participants include Artur Zmijewski, Dmitry Vilensky (Chto Delat), James Marriott &Jane Trowell (PLATFORM), John Roberts, Stephen Wright, Marina Vishmidt, Peter Osborne and Gail Day.

In association with Stanley Picker Gallery Public Lectures on Art & The Visual and Material Culture and Contemporary Art Research Centres at Kingston University of London.

The increasing visibility of contemporary art, together with the shift in art discourse towards the social dimension, not to mention the sheer number of people now practicing as artists, all make the use value of art a vital issue. At a local and national level contemporary art has clearly taken on a role as instigator of local regeneration/gentrification and city branding. Such projects usually involve star artists, while activist, community and socially engaged practices often take place off the art world radar, or else adopt conventional art spaces as leverage for their work. How do organisations and institutions with their resources and networks influence this equation of art and use? In light of the radical changes to higher education which are currently being pushed through alongside simultaneous cuts in the arts budget, can we develop a language beyond the business-model discourse of ‘creative industries’ in which to defend and promote the value of art to a wide public?

This symposium aims to ask: What is the use-value of art today, how is it useful, and for whom? What are the particular imaginative and cognitive skills, competences and approaches that could take effect as part of the general symbolic economy beyond the artworld? What are the lessons and influences of movements which sought an unambiguously social and political function for their experiments? And finally, what are the conditions that enable artists not simply to reflect upon the world, but to act within and change it?

Tickets are available here: http://www.whitechapelgallery.org/shop/product/product_id/800

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