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The Occupy with Art blog provides updates on projects in progress, opinion articles about art-related issues and OWS, useful tools built by artists for the movement, new features on the website, and requests for assistance. To submit a post, contact us at occupationalartschool(at)gmail(dot)com .

Entries in texts (32)

Sunday
Dec112011

On the Global “Occupy” by Alan W. Moore

[Alan Moore's blog, Occupations and Properties] has long been concerned with information and issues around occupation. The movement of squatted social centers has been about providing social, political and cultural space in cities where the processes of hyper-capitalism have foreclosed or constrained such possibilities. These occupations have been for the most part tiny islands in the immense oceans of normative life, captained by ultra-left pirate bands. Only now has a global movement bloomed which demands that same kind of space, which occupies it, and resolutely, slowly, determinedly discusses what to do about the systemic failure of the capitalist system to provide for the social welfare.

 

Visiting in New York before the Occupy Wall Street (OWS) protests began, I biked by the site in the morning and was amazed at the extraordinary police presence for what I assumed would be a small demonstration. Now I see the cops were right. Like small boys whose defensiveness is in proportion to their guilt, they knew what was up. The encampment developed beautifully, roiled by traditional protest marches which set off chanting slogans – but even these worked in well as the marchers returning were greeted with cries of “Welcome home!” The form of OWS developed like the encampments of the 15 May movement (15M) I'd seen in the Puerta del Sol in Madrid – with designated areas to handle all the various necessities, as in a social center. The massive general assemblies of the 15M ran smoothly. All this I assumed was the outcome of decades of experience with big-building occupations by many activists in 15M.


What precisely the 15M owes to the squatting movement is a question which will be addressed by Miguel Martínez at the early December meeting of the SQEK in Amsterdam. But the question of what the Occupy movement owes to squatters is only one of many as the U.S. movement is historicized. The Smithsonian and New-York Historical Society are already scrambling together collections of OWS artifacts. Are other cities' historical societies doing the same? On my travels I saw Occupy encampments in the downtowns of Chicago and Minneapolis this fall, and some time spent on the web can turn up the online evidence of the dozens more around the USA. These are all significant local events in a movement writers for “Dissent” have compared to the populist risings of the 1930s.


Since my return to Madrid, I've been following the U.S. on the web, just as I did with the Tahrir Square uprising in Egypt. That was easily the most exciting webcast of 2011. The international character of the Occupy movement, like the anti-WTO organizing of the '90s and '00s, follows the dust storms of international capital. While the entire scope of this global revolutionary period is too much to wrap one's head around, a September collection of “journalisms” on the 16 Beaver Group website begins to try, comparing U.S., Greece, and Egypt protests and their processes. The U.S. correspondent writes that, like me, “I have to follow from home via this Twitter feed: https://twitter.com/#!/OccupyWallStNYC.” The Twitter feed is tactical, but it also turns up all sorts of great stuff that's been written about the movement, like the Lowndes and Warren text cited above. S/he also watches the OWS live on http://www.livestream.com/globalrevolution, and recommends the live feed of the assembly process.


As web television, the national OWS so far has been a bit of a bore, or to be fair, widely dispersed in eventless streams and various shorts. There is no CNN for this revolution. Still, I liked the Ed David short film “Where Do We Go from Here?”, posted at http://occupywallst.org/ for the one-month anniversary of the NYC occupation. In it, a young woman explains in rejoinder to the mainstream pundits' complaint that OWS has no program, “I have no idea – and that's what's really exciting, not knowing what's going to happen.”
So far as analysis goes, Marxists are weighing in heavily on this movement. After a visit to Occupy London, “Lenin” (Richard Seymour, in the blog “Lenin's Tomb”) points out the “political indeterminacy of the movement thus far,” but concludes that, given their so-far enunciated principles, that “it's a reformism radicalising in the direction of an anti-systemic stance.” For him, “This isn't a revolutionary situation, but merely a punctuating moment in the temporal flow of class struggle.” The identification with Egypt, which Seymour says has been mocked in the English press, emphasizes the internationalism of the movement, and, like OWS, “it identifies the political class rule of the 1% as the key problem; the colonization of the representative state by big capital.”

Click to read more ...

Wednesday
Nov302011

Eviction 

[Note: The following was posted on the Occupy|Decolonize|Liberate blog.]

Below are excerpts from artist Dont Rhine (Ultra Red)’s facebook feed:

“Here the cops come lead by a little tiny lady cop. They’re carrying teargas guns or beanbag guns.”
Like · · 3 minutes ago ·

[They're reciting the principles of organization inside the park using Mic Check. It's very moving.]
Like · · 13 minutes ago ·

‎”Cops coming in with zip ties.”
Like · · 15 minutes ago ·

“The cops are going after the treefort. They hate it.”
Like · · 16 minutes ago ·

“Where do we go? We are home?”
Like · · 26 minutes ago ·

Protestor: “If you give me a hug I will leave right now.”
Like · · 28 minutes ago ·

Click to read more ...

Thursday
Nov242011

Die Neue Elite ist das Volk

CLICK THE IMAGE TO VIEW MORE IMAGES.

Andreas Maria Jacobs

Die Neue Elite ist das Volk

Ephemeral Visual Graffiti

Digital projection of a series of red & black stencil type-faced lettering on a white background constituting of various subjective, erratic political - sometimes poetical - statements & slogans

Perceived and written during the final stages of the economical and financial downfall of Empyre in the years 2010-2011

Screened live at Beursplein, Amsterdam during Occupy Amsterdam November 10 2011

Photos by Belle Phromchanya



Sunday
Nov202011

Concentric Circles

Occupennial co-organizer Paul McLean penned this essay on concentric circles and the structural dynamics of #OWS, plus related phenomena for his blog AFH2011. To read the essay, click the images above or below.

[NOTE: The final pre-publication draft version is HERE.]

Concentric Circles: A Conjecture about the Dimensional Nature of the Fast-Spreading Global Occupation, in Text and Images

Interdiction is always a rule of the State; impossibility is a regulation of the real.” – Alain Badiou, “Highly Speculative Realism on the Concept of Democracy”

We’re living in a Post-9.17 World.

Two months + 1 after the #OccupyWallStreet movement (and it is one, now) congealed in Zuccotti Park, a sketch of the New World Order is in order. Last August, those of us who took Badiou’s seminar at the European Graduate School witnessed this trajabadore philosopher map infinity and finitude, using set theory, to assert a vision of the universe in which series of derivative values constituted a whole that itself existed as a beautiful, animated array of derivative components. The Omega of Badiou and the sets of finite phenomena, which are Its expression, are hinged in a conjecture. #OWS is such a conjecture: a being-event that impossibly de-regulates the real, and defies the parameters of superimposition. But how does such a moment work?

It’s my contention that Time is the only Object, and everything else is Subject. I asked Badiou during a coffee break whether Philosophy needed Art. It had become clear to me that art required the love of wisdom, the evaluative functions of philosophy, after encounters with the likes of Kittler, Lotringer, Agamben, Ronnell, Badiou and others. What wasn’t clear was whether philosophy, which could think about anything it seems, needed art. Badiou said, “Philosophy needs art, now.” I would suggest that #OWS proves this, because perceptually we appear to be spanning dimensions, and on this side of the void that attaches to progressive perceptual consciousness, we seem to have returned to the beginning. In the beginning there were concentric circles...

Monday
Nov072011

Occupy Brooklyn Rail

Several pieces came out of the Occupy reading at Bowery Poetry Club last month that Brooklyn Rail has published in the November issue. These include:

The publication contains other terrific #OWS coverage, too.

Below is one of the poems Brenda Coultas read at BPC:

 

A Gaze

I

A man texts a photograph of his meal, but to who? Himself or others?

Others too, texting in a crowd on a 1st aveune as glaciers recede.

They do not feel the fading cold of the ice. Only the heat of the keys strokes.

 

A man texts crystal water glass pixels to quench real thirst.

 

I texted forward a rumor of siphoned great lakes water to China. A Chinese bureaucrat texts images of fresh lake water to billions at home.

 

At the top of a mountain, where only small mamals live, the air is thin and gives me panic. I do not belong above the tree line even though I can drive there. Stopping to send a pic of the lichen sponge by the gift shop on the glacier, the phone lens: an extension of my eyes.

At times, I forget that I am not an extention of the machine until I burn my palms touching a hot metal pot: recoil and remember to use hot pads to protect the flesh fabric that covers the hand bones.

 

From the glacier tops, bodies of mountian climbers in the dead zone; Will their corpses sweeten or enbitter the drinkers of the Ganges?

 

 The leather shoes of the ice man texted forward. Sometimes, the tap runs while I brush my teeth and empty bathwater down the drain.

 

The last glass of water sits before you, how will you drink it?

We load the car on hwy 50 the lonliest highway in the USA. It whines through Nevada crossing the poney express route and ancient seabeds. Crinoid stems thirst for the ancient sea.

 

Last glass of glacier water boils in the kettle.  Saffron threads of a viking beard cloud the water glass.

 

Theft of water, relocation, diverted from its bed.  Hydrofracting.  I never thought they’d use our water against us.

 

When we began with this full jug of water, without thinking until the police chased us away from the creek of who owns the water, like who owns the sky. Or that satilite overhead, branded by a private owner over public space.

 

Wanted to absorb it, to get to the bottom and start all over again. A great anixiety about finishing and throwing it away, with a inch still in the bottom, the backwash.

 

Who owns the creeks and waterways of this valley? The only legal course is midstream so that anglers can trout fish without tresspass.

 

Into the last glass, I stir the reindeer scat with a herding stick captured from the thaw.

 

The water, sometimes they use it against us.  I question the interaction between the sythentic (the plastic) and the real inside of the jug on the table.  The water is an hour glass, and I write fast as I can before it runs dry

 

A glass of water from last glacier sits before you on the table, you glaze at the logo of an abundant flowing stream or the name of the spring which somehow sounds pure and far away as an ice berg, calved off and lassoed from the warming world. Even though you know the source  is a corporate tap of public water.

 

Fertilzer runs off into our family well. I used to picture a whale, a Moby Dick under the cornfield, a levathian as the source of our water. Because only a vessel the size of a sperm whale could contain the water that flowed on conmand from the tap. Even though people spoke of the well running dry. Ours magically replenished itself under the blanket of  Monstanto crops.

 

It flows on the green logo and facsmile of a mountain stream of abundant water. Abundant: a 20th century word.

 

“Natural” is highlighted and in a yellow circle it is written, “contains 16 servings” and there are only two of us left since this, now nearly empty, jug was opened.

Thursday
Oct272011

Flow chart of the Declaration of the Occupation

Click on the image to zoom in

Flow chart of the Declaration of the Occupation

by Rachel Schragis

 

To zoom in, visit: http://zoom.it/MFXB#full

Wednesday
Oct262011

OWS, from A-Z, by Theodore Hamm

A=arraign; arrears; arrests

Many came to Occupy Wall Street because they are in arrears, only to be arrested, with some even arraigned.

B=Bloomberg; Brookfield Properties; Brooklyn Bridge

Bloomberg and his buddies at Brookfield were dismayed when the mass arrests on the Brooklyn Bridge failed to stop the protests.

C= commune; cops; corporations

While some folks are creating a commune, cops are protecting corporations.

D= democracy, American; democracy, direct

American democracy is controlled by political parties that respond to money, whereas direct democracy is handled by participants answering to each other.

E= exhilaration; existentialism; experience

Joining together with your fellow ninety-nine percenters can be an exhilarating existential experience.

F= freedom of speech; free market

Fuck that free market nonsense, the protesters say, exercising their right to free speech.

G=grip, gripe

Many who gripe about the OWS protests need to get a grip.

H=Hydra; hydrate

Donated supplies continue to hydrate the Hydra.

I=individualism; indivisible

I pledge allegiance to Occupy Wall Street, and to the democracy for which it stands, indivisible, with liberty and justice for the 99%.

J=jackboots; Jacobins

Don’t let the jackboots turn you into Jacobins.

K=Kelly, Ray; kettling

Kelly and his keepers keep on kettling.

L=love

At the risk of seeming ridiculous, let me echo Che’s statement: “At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love.”  

M=money

A question for the banks: “Where’s the money, Money?”

N=Nine; Ninety-Nine


We are the 99 percent; You are the 99 percent—and all of us will gain nothing from 9-9-9 or any other nefarious nostrums.

O=occupation

The lack of meaningful occupations has led many 20-somethings to join the Occupation.

P=Percent, One

Lots of folks in the one percent will gladly tell you that they are part of the middle class.

Q=quest; quixotic

Ending inequality may seem like a quixotic quest, but the fight has to start somewhere.

R=revel; revelation; revolution

Many revel in the revelation that a revolution is upon us.

S= shambles; shame

American democracy is in shambles, and it’s a shame.

T= Tea Party

The Tea Party is astroturf, but OWS is grassroots.

U=usual; usurp

Rather than accept business as usual, OWS usurped national attention.

V=Vendetta

If there’s one flick that all the protesters seem to like, it’s V for Vendetta.

W=Wall Street

If there’s one place that none of the protesters seem to like, it’s Wall Street.

X=Malcolm

If there’s one radical figure that nobody on Wall Street likes, it’s Malcolm X.

Y=Yippies; yuppies

When OWS protesters channel the spirit of Abbie Hoffman and the Yippies, yuppies get nervous.

Z=Zuccotti Park

Though it sounds like an Italian restaurant, Zuccotti Park is actually the site of the New York City Commune.

 

 



Tuesday
Oct252011

N+1's Occupy! An OWS-Inspired Gazette 

CLICK THE IMAGE TO DOWNLOAD THE PDF, FREE.

With the help of Astra Taylor (Examined Life; Zizek!) and Sarah Leonard of Dissent and the New Inquiry, we’ve put together a history, both personal and documentary, and the beginning of an analysis of the first month of the occupation. Articles deal with the problem of the police; the history of the “horizontalist” management structure at OWS; how to keep a live-in going when what you’ve tried to shut down refuses to shut down (like Harvard, or Wall Street); on whether the Fed should be abolished; on where that Citibank arrest video came from; on occupations in Oakland, Philadelphia, Atlanta; on what happens next; and more.

It’s an attempt to begin to think through what is happening, written by people both on the ground and across the river. We hope you’ll read it and discuss it with us. There’s a lot more thinking and doing to do.

Tuesday
Oct252011

“9.5 Theses on Art and Class” by Ben Davis

1.0 Class is an issue of fundamental importance for art
1.1 Inasmuch as art is part of and not independent from society, and society is marked by class divisions, these will also affect the functioning and character of the sphere of the visual arts
1.2 Since different classes have different interests, and “art” is affected by these different interests, art has different values depending on from which class standpoint it is approached
1.3 Understanding art means understanding class relations outside the sphere of the visual arts and how they affect that sphere, as well as understanding class relations within the sphere of the visual arts itself
1.4 In general, the idea of the “art world” serves as a way to deflect consideration of both these sets of relations
1.5 The notion of an “art world” implies a sphere that is separate or set aside from the issues of the non-art world (and so separates it from class issues outside that sphere)
1.6 The notion of an “art world” also visualizes the sphere of the visual arts not as a set of conflicting interests, but as a harmonious confluence of professionals with a common interest: “art” (and so denies class relations within that sphere)
1.7 Anxiety about class in the sphere of the visual arts manifests in critiques of the “art market”; however, this is not the same as a critique of class in the sphere of the visual arts; class is an issue that is more fundamental and determinate than the market
1.8 The “art market” is approached differently by different classes; discussing the art market in the absence of understanding class interests serves to obscure the actual forces determining art’s situation
1.9 Since class is a fundamental issue for art, art can’t have any clear idea of its own nature unless it has a clear idea of the interests of different classes

2.0 Today, the ruling class, which is capitalist, dominates the sphere of the visual arts
2.1 It is part of the definition of a ruling class that it controls the material resources of society
2.2 The ruling ideologies, which serve to reproduce this material situation, also represent the interests of the ruling class
2.3 The dominant values given to art, therefore, will be ones that serve the interests of the current ruling class
2.4 Concretely, within the sphere of the contemporary visual arts, the agents whose interests determine the dominant values of art are: large corporations, including auction houses and corporate collectors; art investors, private collectors and patrons; trustees and administrators of large cultural institutions and universities
2.5 One role for art, therefore, is as a luxury good, whose superior craftsmanship or intellectual prestige indicates superior social status
2.6 Another role for art is to serve as financial instrument or tradable repository of value
2.7 Another role for art is as sign of “giving back” to the community, to whitewash ill-gotten gains
2.8 Another role for art is symbolic escape valve for radical impulses, to serve as a place to isolate and contain social energy that runs counter to the dominant ideology
2.9 A final role for art is the self-replication of ruling-class ideology about art itself—the dominant values given to art serve not only to enact ruling-class values directly, but also to subjugate, within the sphere of the arts, other possible values of art

READ MORE IN THE OCCUPENNIAL LIBRARY, HERE.

(Submitted by the author for Occupennial Blog/Library - Admin)

Monday
Oct242011

Occupying the Art World


 
Occupying the Art World
By Ruth Erickson (ruthee@sas.upenn.edu)

 

The temporary occupation of space to confront powerful institutions has been on my mind as the Occupy Wall Street movement passes its month-long mark. The protestors condemn the increasing concentration of wealth into the hands of fewer and fewer people and the precarious existence of the other 99%. They have set up camps across the country, assembling patchwork plots of sleeping bags, hand-written signs, and stations for first aid, food, and media. The camps' ad-hoc aesthetics visualize the very precariousness of the occupiers, who have been arrested, pepper sprayed, and beaten by the hundreds, but whose outraged sentiments seem to only grow with time. In late September two events took place in New York City to draw attention to the inequalities and machinations of the art market through the temporary and insurrectionary claiming of space. On September 22, Occupy Wall Street activists infiltrated a Sotheby's auction to protest the company's anti-union policies and to show support for art handlers who have been locked out of contract negotiations since mid-summer. One by one protesters disrupted the auction by standing up and making damning pronouncements about, for instance, the CEO s salary increases and the art handlers' dwindling wages before being escorted out by Sotheby s security.

On September 23, the longtime politically engaged French artist Fred Forest planned his Oeuvre Invisible for the Museum of Modern Art, which consisted of measuring a square meter and then occupying this space by placing ultra-sonic sound emitters. The project relates to Forest's conception of objects as invisible systems in his book L'Ruvre-Système Invisible (Harmattan, 2006) and continues four decades of culture jamming actions by the now 78-year-old artist. Forest's career of détournement began with his 1972 work Space Media when he inserted blank spaces in newspapers, the radio, and television and invited consumers to fill in the space with their free expressions and thoughts, thereby reversing the conventional direction of mass media communication. Oeuvre Invisible brings together two themes, in particular, that have occupied Forest throughout his career: critique of the art market and invisibility.

For his project Artistic Square Meter in 1977, Forest purchased land at the border of France and Switzerland and attempted to re-sell parcels at an art auction to illustrate speculation in the art market. When French authorities outlawed the sale, Forest replaced the square meter of land with a piece of fabric, which he bought, declared a  "non-artistic square meter," and sold for a couple thousand dollars. At Documenta in 1987, Forest created a 14,000 Hertz electromagnetic field by secretly placing transmitters in the within the Fridericianium and then used local press to reveal the existence of the uninvited work. Continuing his critique of institutions, in 1994, Forest requested that the Centre Georges Pompidou make publicly available the price paid for Hans Haacke's work Shapolsky et al. (1971), in which Haacke charts Shapolsky's dirty real estate dealings around New York City. Haacke's work was famously censored at the time of exhibition by the Guggenheim Museum but has since become a canonical work of institutional critique, purchased by many major museums for millions of dollars. The publicly-funded museum refused, and in order to reveal this lack of transparency and speculation, Forest sued the museum in a multi-year court case, which which was finally founded in favor of the institution (see Forest's Fonctionnements et dysfonctionnements de l _art contemporain, Harmattan, 2000). From March to September of 2011, Forest lived in New York City as a resident at Residency Unlimited and quickly set his sights on the MoMA for his next playful critique. (Fred Forest, The Conversation, September 23, 2011, Museum of Modern Art, courtesy the artist)


The project for the MoMA was the insurrectionary insertion of an invisible work, which would always remain beyond the grasp of institutional acquisition. Upon arriving with his group of volunteers at 4pm, Forest was greeted by three security agents who prohibited the work and threatened to call the New York City police if any performance took place. A twenty-minute conversation between Forest and the guards ensued about freedom of expression within the museum. The MoMA, Forest learned, only exhibits acquired or borrowed works, that is, works that have already participated in the art market. This is the very market being attacked sixty blocks further south by Occupy Wall Street and just a few block north by protestors at Sotheby's. This is the market that Forest had made visible through the failure of his Oeuvre Invisible. After being trailed by security guards until leaving the building and area, Forest declared the creation of a new work,  "The Conversation."


Video Documentation of Sotheby protest:
http://www.truth-out.org/occupy-wall-street-activists-disrupt-sothebys-art-auction/1316784991


Video Documentation by the Biennale Project of  The Conversation  by Fred Forest:
http://www.youtube.com/watch?v=A_5rXN6nkx4
http://www.youtube.com/watch?v=wo4pneZF-0E
http://www.youtube.com/watch?víXnYf829i4

Sunday
Oct232011

A New Addition in the Occupennial Library

ABC No Rio Dinero: The Story of a Lower East Side Art Gallery, 1985. Edited by Alan Moore and Marc H. Miller. Designed by Keith Christensen. No Rio Blockhead by Becky Howland. Cover design by Joseph Nechvatal

CLICK ON THE IMAGE TO VIEW THE E-BOOK.

ABC No Rio Dinero: The Story of a Lower East Side Art Gallery
Edited by Alan Moore and Marc Miller
New York: ABC No Rio with Collaborative Projects, 1985

Excerpt:

ABC No Rio Dinero: The Story of a Lower East Side Art Gallery is a catalogue of the gallery's first five years as well as an exploration of the broader artistic context from which No Rio emerged. Although No Rio never followed a strict agenda, it viewed itself as an interactive space where art, politics and community mixed. As such, the gallery was linked to artist groups like Colab, Group Material, and PADD, as well as the South Bronx gallery, Fashion/Moda. No Rio found inspiration in its Hispanic neighborhood, but it also connected with the East Village's newly burgeoning music and club scene, and the wave of commercial art galleries that opened in the area soon after No Rio began. During No Rio's first years, shows were generally organized by artists, and open to all who wanted to participate. The gallery specialized in theme exhibitions and was the launching pad for new ideas as well as for the careers of many successful artists.



Tuesday
Oct042011

#OccupyWallStreet at Creative Time's "Living As Form" Exhibit

On Thursday, October 5, Occupy Wall Street will participate in the Living As Form expo at its Essex Street location. More details TBA.

Nato Thompson of Creative Time posted this essay, "The Occupation of Wall Street Across Time and Space" at the European Institute for Progressive Cultural Studies website. He writes:

The occupation of Wall Street continues with vast alacrity and momentum. What began as an AdBusters’ call to accountability has captured a reservoir of frustration and inequity moving across the United States and beyond. Here in New York City, this particular moment defies easy categorization or analysis as it continues to move in directions that defy previous expectations and critiques. The occupation is ever in flux. Nonetheless, as the occupation (and numerous planned and spontaneous marches) heads into its three weeks amidst a fairly extensive media blackout in the United States, the movement is clearly heading into a different organizational and theoretical manifestation.

On his Dark Matter blog, Greg Sholette interviewed Nato, and the convergence of Living As Form and OWS was one of the topics they discussed:

Greg: And just one quick follow up Nato, as you know the Wall Street occupation emerged simultaneously with Living as Form and I see you and others involved in the art event made it a point to go down to Liberty Plaza and get directly involved in it. Perhaps its too soon to ask this, but do you see this as another link to the Summit and the exhibition, or as something more integral to their spirit, and therefore capable of playing a transformative role of some sort for social practice art going forwards?

Nato: I wouldn’t want to place too much emphasis on the spontaneous walk down to the occupation as frankly, it was the only reasonable thing to do. Participating in existing social movements is critical for anyone alive today let alone socially engaged artists. I mean, lets face it, having this occupation at the same time of the exhibition and summit was something that is hard to ignore. It has been an extremely poetic convergence and I am glad that even a hand full of folks have gathered down there and are now working to add what they can to the movement. That said, we could certainly use more help. If you are interested in joining the ranks down there, this is your invitation (I am speaking to the readers). Just walk down to Liberty Plaza, go to the info desk and ask how you can plug in. The more, the merrier.

 

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