Let’s be clear about something: it is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. When the flexibility, certainty, and freedom promised by being part of a critical outside are revealed as extensions of recent advances in economic exploitation, does the field of art become the uncritical, complicit inside of something far more interesting?
Edited by Julieta Aranda, Brian Kuan Wood, and Anton Vidokle
Contents Julieta Aranda, Anton Vidokle, Brian Kuan Wood, Introduction Diedrich Diederichsen, People of Intensity, People of Power: The Nietzsche Economy Hito Steyerl, Politics of Art: Contemporary Art and the Transition to Postdemocracy Marion von Osten, Irene ist Viele! Or What We Call “Productive” Forces Liam Gillick, The Good of Work Lars Bang Larsen, Zombies of Immaterial Labor: The Modern Monster and the Death of Death Keti Chukhrov, Towards the Space of the General: On Labor Beyond Materiality and Immateriality Tom Holert, Hidden Labor and the Delight of Otherness: Design and Post-Capitalist Politics Franco Berardi Bifo, Cognitarian Subjectivation Antke Engel, Desire for/within Economic Transformation Precarious Workers Brigade, Fragments Toward an Understanding of a Week that Changed Everything… Irit Rogoff, FREE
Julieta Aranda is a conceptual artist that lives and works in Berlin and New York City.[1] She received a BFA in filmmaking from the School of Visual Arts (2001) and an MFA from Columbia University (2006), both in New York. Her explorations span installation, video, and print media, with a special interest in the creation and manipulation of artistic exchange and the subversion of traditional notions of commerce through art making