The following was announced on the windows of a small blue house at dOCUMENTA (13): The 60 wrd/min art critic is available. ­Reviews are free of charge, and are written here on Mondays, Wednesdays and Saturdays ­between the hours of 1 and 6 p.m. Lori Waxman will spend 25 minutes ­looking at submitted work and writing a 200-word review. Thoughtful responses are guaranteed. Completed reviews will be ­published in the Hessische/­Niedersächsische­Allgemeine (HNA) weekly, and will remain on view here throughout ­dOCUMENTA (13). This book collects together all 241 reviews written during the d13 performance, with an afterword by Carolyn Christov-Bakargiev. LIST OF ARTIST ...

The time clock is a device for the material worker. It ticks away, minute by minute, hour by hour over the course of each and every day. In the olden days the work completed was equal to the material proof at the end of eight hours. Today, the immaterial worker does not have the same symbiotic relationship with the time clock. The time clock for the immaterial worker is irrelevant because they work continually. And they work on what is most expected of them: the constant flow of ideas. Their time is not measured in concrete things. It is measured ...

What is really the main shortcoming of art today? Where is the essence of its unfulfilled promise of a better world? According to Slovenian art theoretician Bojana Kunst1, a possible answer can be formulated with regard to the paradox that the artist personifies the ideal of the post-Fordist worker who produces using cognitive and affective powers in flexible working conditions without making a distinction between work and free time. Time is the neuralgic point of general precarisation symbolised by the image of the artist, which is the focus of the exhibition A Taste for Work by the Fokus Grupa art collective. ...

I am wearing these words. I wish they were bespoke, well-cut, stylish. I wish I wore them with carefree ease, the grace that comes with joyful confidence, sprightly health, and an unburdened conscious. But these words are second-hand, I found most of them in the scrap heap, stole others from my betters, and none of them are rightly mine. They are worn and stained, clunky and awkward, a poor fit for what I really mean to say. Woven into stories, I pretend they are a person. They fail as soon as I slip them on. They are not even made of ...

Labour of Listening by Kate Lacey is the first episode of the new podcast series Ages of Receivership: On Generous Listening, based on the 2022 symposium with the same title. In her contribution the author and Professor of Media History and Theory at the University of Sussex talks about the act of listening as a form of labor, about listening out and listening in and what it means to create a space, where speech and listening can take place. The podcast series Ages of Receivership: On Generous Listening emerges from the spring 2022 Master Symposium at the Institute Art Gender Nature, ...

After the loss of a counter-model for capitalism—which socialism, in its real, existing form had presented until its collapse—alternative concepts for economic and social development face hard times at the beginning of the twenty-first century. In the industrial nations, broadly discussed are only those “alternatives” that do not question the existing power relations of the capitalist system and representative democracies. Other socio-economic approaches are labeled utopian, devalued, and excluded from serious discussion if even considered at all. This edition of the republicart web journal presents transcriptions from 13 videos from Oliver Ressler’s thematic installation Alternative Economics, Alternative Societies focusing on diverse ...

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?

A script of Georgia Sagri’s round table Art Without Work & Work Without Art. Notes, Questions And Thoughts Open For Discussion which took place on February 24 2018 at Kunsthaus Glarus as part of Im Bau. Eine Redaktionssitzung.

The main affirmation of artistic practice must today happen through thinking about the conditions and the status of the artist’s work. Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.

At the OFF-Biennial, Fokus Grupa (Iva Kovač and Elvis Krstulović) presented different projects which, combined, made up an entirely new coherent whole. The basic premise of the gallery presentation has been to interpret public monuments in Croatia and question the power of national myths and mythical dimensions of established historical facts. Rather than representing a mere selection of the exist- ing works organised into a readable story, the exhibited projects have been brought together to form a dramaturgical arc that could be read as an exhibition with the classical elements of a Greek tragedy (the ancient Greek tragedy bore a ...

Episode 1: Austerity Mareike Dittmer, Stefanie Hessler, Natascha Sadr Haghighian in conversation with Chus Martínez and Quinn Latimer. Promise No Promises is a podcasts series produced by the Women’s Center for Excellence, a research project between the Art Institute and the Instituto Susch—a joint venture with Grażyna Kulczyk and Art Stations Foundation CH. The Women’s Center for Excellence is conceived as a think tank tasked to assess, develop, and propose new social languages and methods to understand the role of women in the arts, culture, science, and technology, as well as in all knowledge areas that are interconnected with the field of culture today.

Single pages from IKEA furniture-assembly instructions were mixed together and renumbered. The result is an instructions manual of about 700 pages. “BÆBEL’s name suggests both staggering ambition—and if you followed its instructions, and assembled all IKEA furniture into a single fixture, what could that be but a tower to god?—and its promise of universal comprehension: IKEA’s power is predicated on communicating across languages, which is why its manuals eschew words entirely for these severe and elegant images.” – Julia Pelta Feldman