*The title is inspired by bell hooks’ book Teaching to Transgress: Education as the Practice of Freedom.
TTTT is a no-credit collective research and study programme on critical pedagogy in the arts.
The actual study programme is structured in four one-week workshops during 2020 and is developed transnationally by three European art schools, erg in Brussels, HDK/Valand in Göteborg and ISBA in Besançon. It is funded by Erasmus+ Strategic Partnership Grant.
This syllabus published as part of the exhibition Reading the Library, Sitterwerk in St. Gallen, instigates discovery and learning within an educational context and aims to reveal the socially and historically produced orders and hierarchies that underlie library catalogues. This learning and teaching material includes conversations with practitioners and collectives currently working on alternative models proposing de-colonial and feminist methodologies for changing normative concepts of validating, preserving, and making available diverse knowledges.
With contributions by Amanda Belantara and Emily Drabinski (US), Annette Krauss, Anja Groten, Sven Engels, Aggeliki Diakrousigeliki (Feminist Search Tools, NL), Martino Morandi, Anita Burato (Infrastructural Manoeuvres, NL, BE), Élodie Mugrefya and Femke Snelting (Constant, BE), Lucie Kolb, Johannes Bruder, Karolina Sobecka (The Rewrite, CH), Nora Schmidt (AT), Eva Weinmayr (Library of Inclusions and Omissions, SE, UK), Bibliothek Wyborada (CH)
A talk about the politics of a situated and contextual publishing practice for participants of this Summer School.
Organised by Karina Nimmerfall and Maximiliane Baumgartner (Labor für Kunst und Forschung, Institut für Kunst und Kunsttheorie, Intermedia, Universität zu Köln) in collaboration with Selena Kimball and Pascal Glissmann (Observational Practices Lab @Parsons/The New School, School of Art, Media and Technology, New York). […]
Keywords in library catalogues are never neutral; they designate, classify, and index. An act of interpretation is thus always connected with them. They frame and determine how books and materials are found—and, to a certain extent, also how they are read or interpreted. What socially produced and embedded structures are found in the descriptive metadata of the Art Library? How can traces of the work on descriptors be made visible? How might it be possible to introduce keywords that focus less on demarcating a topic than on how it is possible to work with it, that do not describe what books are, but rather what they do, how we use them, and what they do to us?
Introduction and moderation Lucie Kolb, in cooperation with Philipp Messner, Axelle Stiefel, Eva Weinmayr, Jasna Zwimpfer. […]
Andrea Francke and will be contributing to the session titled “Borrowing” of this reading group at Yale Law School convened by Sara Petrilli-Jones (Yale Law School), Pierre Von-Ow (Yale History of Art), Enrico Camporesi (Centre Pompidou Paris) at Yale Law School – supervised by Professor Amy Kapczynski (Yale University). […]
Conventional intellectual property law binds authors and their hybrid contemporary practices in a framework of assumed ownership and individualism. It conceives creations as original works, making collective, networked practices difficult to fit. Within that legal and ideological framework, Copyleft, Open Content Licenses or Free Culture Licensing introduced a different view of authorship, opening up the possibility for a re-imagining of authorship as a collective, feminist, webbed practice. But over time, some of the initial spark and potentiality of Free Culture licensing has been normalised and its problems and omissions have become increasingly apparent. This study day is therefore meant to see if we can start re-imagining copyleft together.
Can we invent licences that are based on collective creative practices, in which cooperation between the machine and biological authors, need not be an exception? How could attribution be a form of situated genealogy, rather than accounting for heritage through listing names of contributing individuals? In what way can we limit predatory practices without blocking the generative potential of Free Culture? What would a decolonial and feminist license look like, and in what way could we propose entangled notions of authorship? Or perhaps we should think of very different strategies?
Publishing as Artistic Practice, edited by Annette Gilbert
In capitalism, institutionalized libraries, publishers and book traders all have ways to suppress the publishing of, the access to or the distribution of texts and books — rigidities inviting for creative subversion. Download chapter
Please join us on Friday 17 July for the opening of Resource — a group exhibition inspired by the 1927 founding manifesto of the Bluecoat to promote not only the arts, but also the diffusion of useful knowledge. We have shipped The Piracy Collection to Liverpool to set up a temporary Reading Room for the duration of the exhibition alongside works by Clay Arlington, Jack Brindley, Ben Cain, Maurice Carlin, Daniel Eatock, Sean Edwards, Anne Harild with Blue Room, Jonzo, Laurence Payot, The Serving Library and Ian Whittlesea.
The Bluecoat, School Lane, Liverpool L1 3BX
This study day is a collaboration between Afterall, Chelsea Space and AND Publishing. We explore the possibilities and limitations of existing structures for exhibiting, publishing and dissemination within the institution as well as the acquisition politics of special collections, libraries and public archives.
Please join us for a day of conversations with:
Sarah Kember (Professor of New Technologies of Communication at Goldsmiths, University of London) on her plans to set up an alternative Academic Publishing Press introducing female citation policies.
Karen Fletcher (Fine Art Librarian at Central Saint Martins, University of the Arts London) on acquisition a nd cataloguing politics at the University and the question how get the books on the library shelves?
Sophie Hope (Manual Labours, lecturer in Arts Management Film, Media & Cultural Studies, Birkbeck) about her independent practice which looks at the politics of socially engaged art.
If you’d like to join please send an email to firstname.lastname@example.org
Why Publish? initiated by Eva Weinmayr, Luisa Minkin and Alex Schady is a joint research project between AND Publishing and Central Saint Martins MA Fine Art students to collectively explore the pedagogical, creative and critical spaces of publishing. More…
The University Gallery set up by Joyce Cronin and Karen Di Franco is a joint research between Afterall and Chelsea Space exploring the context of the university gallery, models of practice for exhibiting and the role of publishing within the university. More…
Both research projects are funded by Curriculum Development Funding, Student Enterprise and Employability (SEE), University of the Arts, London.
Please join us at The Classroom, MoMA PS1.We invited Lauren Haaften-Schick and Sergio Munoz Sarmiento to discuss their recent essay about the new verdict in the Cariou vd Richard Prince case, which looks at class, labour, and what happens when appropriation becomes a tool of power. Read the essay.
The classroom is curated by David Senior and it’s free.
Sunday 28. 09. 2014
MoMA PS1, Long Island City, NY
Please come to our panel discussion with Cornelia Sollfranck about our practices and the legal frameworks we engage with when dealing with each other works. Cornelia who chaired the panel also recorded an interview for her research Giving what you don’t have in the afternoon.
7 Dec 2013 11am–12.30pm
Library of Birmingham
Centenary Square, Broad Street
Birmingham, B1 2ND
I’ll be running the morning session of the Publishing as Performance symposium organised by PhD Art Leiden University. Simon Morris (Information as Material) will be talking in the afternoon. It’s organised by Delphine Bedel and k.g. Guttman. Please come along, if you are nearby. Here is the full programme.