This conversation with two members of a relatively new whistleblowing platform—we called them Sarah and Cleo to preserve their anonymity—intends to present the latter. It allows people working on development projects in London to leak information that can be used by local inhabitant associations to organize in time their defense against their planned eviction. We discuss the platform both theoretically—the conceptual approach to disobedience will be presented in the next conversation with Elena Loizidou—and practically, through the perspective of (often young) architects working in development projects, and the ones of local associations through the workshops organized by Concrete Action. Information ...

In these interviews dating from 1998, Châtelet amplifies the major themes of To Live and Think Like Pigs, discusses his method of dramatisation and the crucial importance of style; and touches on subjects from dialectics to dope smoking, from Yoplait to slavery, along the way introducing some of the book’s key concepts: cybercattle, the average man, the tapeworm-citizen, and of course the pitiful couple Cyber-Gideon and Turbo-Bécassine.

A conversation with Steven Warwick aka Heatsick about his March 2016 show Neutral at Exile in Berlin, followed by the text of his play Neonliberal, in which a gaggle of animated superfoods travel around Fortress Europe seeking the hip and the accelerated; and an exclusive Heatsick track, StaylienZ.

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. ...

In his long-term artistic project Theatrum Botanicum, Uriel Orlow considers plants as actors on a political stage: protagonists of colonial trade, flower diplomacy, or bio-piracy. As such, they serve as a prism through which environmental colonial history can be re-negotiated. Theatrum Botanicum can be read as an attempt to decolonize both, history and nature. And for decolonizing nature, it is crucial how plants are considered as acting and living beings. If they tell stories about colonialism, how are they brought to speak?

It is an odd interview alright that Barbara Preisig conducted on Brand-New-Life with Mareike Dittmer in light of the fact that Frieze d/e is being discontinued—odd above all, because Barbara Preisig all too politely failed to ask the co-publisher of Frieze d/e, who was long responsible mainly for selling advertising space, the most obvious question: whether there are, perhaps, also economic reasons for the discontinuation after a five-year, seemingly successful operation.

After the Great Refusal offers a Western Marxist reading of contemporary art focusing on the continued presence (or absence) of the avant-garde’s transgressive impulse. Taking art’s ability to contribute to a potential radical social transformation as its point of departure, Mikkel Bolt Rasmussen analyses the relationship between the current neoliberal hegemony and contemporary art, including relational aesthetics and interventionist art, new institutionalism and post-modern architecture.

This conversation is the second one recorded live at Studio-X Amman Lab (the first one being with Rahel Aima & Ahmad Makia). Recorded with Dena Qaddumi, it attempts to propose a struggle narrative for Palestine that is not focused on Jerusalem to which many of us contribute, thus participating in a debate mostly focused on the 1967 war. By examining the spatial politics of Jaffa-Tel Aviv, Dena attempts to show that similar “ethonocratic” logic of segregation are also at work in an environment admittedly less militarized. This logic also incorporates the same capitalist mechanisms of gentrification at work in other ...

Unprecedented kinds of experience, and new modes of life, are now produced by simulations, from the CGI of Hollywood blockbusters to animal cloning to increasingly sophisticated military training software, while animation has become an increasingly powerful pop-cultural form. Today, the extraordinary new practices and radical objects of simulation and animation are transforming our neoliberal-biopolitical “culture of life”. The Animatic Apparatus offers a genealogy for the animatic regime and imagines its alternative futures, countering the conservative-neoliberal notion of life’s sacred inviolability with a new concept and ethics of animatic life.

This conversation with Liliana De Simone has for ambition to address the way architecture necessarily considers an idealized normalized body in order to conceive itself. Such a consideration almost always follows the dominant essentialization of bodies and this discussion addresses one in particular, gender. We first describe the canonical standardized bodies (often male) as defined by Le Corbusier, Neufert, and Dreyfuss. Then, we address more specifically the situation in South America (Colombia and Chile) and Liliana’s interest for urban policy making in this matter. We finish the conversation with the gender violence that resilience to catastrophes reasserts, in particular in the ...

What will the declining middle class mean for U.S. party affiliations in the near future? I speak with YouTuber and political commentator J.J. McCullough about his recent column in The Washington Post.

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?