Art Metropole, FUSE Magazine and Scapegoat Journal cordially invite you to: Mostly What Is Unsaid.
Mostly What Is Unsaid is an open structure of public conversations initiated by Art Metropole, FUSE and Scapegoat, motivated by our shared conception of publishing as a political praxis, rather than a form of publicity or mere representation. Engaging in conversation amidst the monologue of the neoliberal status quo demands that we attend to gestures, hesitations and omissions as much as words. Through this programming series, we will pursue the critical role of the unspoken and the unspeakable across a spectrum running from the macro- to the micro-political. Within our respective practices, we construct publicly accessible, yet still precarious spaces of conversation. The series Mostly What Is Unsaid curates occasions to bring these discussions into a shared physical space, in order to bridge the gap between locations such as a shop, a magazine, or a journal and spaces of everyday life in the city.
Marco Scotini and Andris Brinkmanis will introduce No Order,followed by a conversation with the editors.
No Order – Art in a Post-Fordist Society is a research, production and publication machine based in Milan, employing different tools to impact the social, semiotic and economical assemblages within the contemporary cultural industry. It focuses on the relationships between contemporary art systems and capitalism’s production processes. It appears as an annual magazine, edited by Marco Scotini, with Asef Bayat, Harun Farocki, Peter Friedl, Maurizio Lazzarato, SylvÃ¨re Lotringer, Christian Marazzi, Achille Mbembe, Angela Melitopoulos, Nelly Richard, Florian Schneider, Nomeda & Gediminas Urbonas and FranÃ§oise VergÃ¨s on its editorial board.
In the first issue of the magazine, the contributions (essays, articles, interviews and dialogues as well as artists’ projects) aim to deconstruct, analyse and intervene within the ambit of the procedures and forms of cognitive capitalism. It concentrates, in particular, on the phenomena of the biennalisation, financialisation and spectacularisation of the political, beginning with the control and distribution of forms of artistic education, production and display on a global scale.
It consists of three sections: Time Zone, Play Time, and Time Machine.
The cartographies in Time Zone trace out emerging artistic systems, geographies of governmental disparities, and different dynamics of cultural work
Play Time corresponds to the central section of an art magazine, which is generally dedicated to monographic essays on particular artists. Categories like author and work belong to a particular historical periodâ€”that of the modern ageâ€”but they are no longer able to analyse and portray the processes of contemporary production. Deconstructing the hyper-visibility of certain organisations and giving visibility to the invisible networks and processes that permeate the space of art, in a collective chain of Education/Market/Display, thus seems to become the only possible form of action in today’s state of work.
Time Machine aims to complete the issue by questioning the position of time at the heart of capitalism, but no longer in its modern form, which based the production process on the contrast between use value and exchange value, and thus, by extension, on the dialectic between reality and representation. On the contrary, timeâ€”which is based on potential/actual relationshipsâ€”is now the basis for the information economy
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FUSE is a venue for timely and politically engaged publishing and programming reflecting the diversity of the contemporary art world. Our work fosters the exchange between social movements and the arts, featuring critical treatment of the most pressing and contentious issues in art, culture and politics from a Canadian perspective.
SCAPEGOAT: Architecture | Landscape | Political Economy is an independent, not-for-profit, bi-annual journal designed to create a context for research and development regarding design practice, historical investigation, and theoretical inquiry.
As a mytheme, the figure of the scapegoat carries the burden of the city and its sins. Walking in exile, the scapegoat was once freed from the constraints of civilization. Today, with no land left unmapped, and with processes of urbanization central to political economic struggles, SCAPEGOAT is exiled within the reality of global capital. The journal examines the relationship between capitalism and the built environment, confronting the coercive and violent organization of space, the exploitation of labour and resources, and the unequal distribution of environmental risks and benefits. Throughout our investigation of design and its promises, we return to the politics of making as a politics to be constructed.
Marco Scotini is a curator and art critic based in Milan. He is the Director of the Department of Visual, Performing and Multimedia Arts and Director of the MA of Visual Arts and Curatorial Studies at NABA in Milan. He is Editor-in-Chief of the magazine No Orderâ€”Art in a Post-Fordist Society (Archive Books, Berlin), and Director of the Gianni Colombo Archive (Milan). He is one of the founding members of Isola Art and Community Center in Milan.
His writings can be found in periodicals such as Moscow Art Magazine, Springerin, Flash Art, Domus, Manifesta Journal, Brumaria, Chto Delat?/What is to be done?, and Alfabeta
His most recent exhibitions include the ongoing project Disobedience Archive (Berlin, Mexico DF, Nottingham, Atlanta, etc., 2005-2011), A History of Irritated Material (Raven Row, London 2010), co-curated with Lars Bang Larsen, and Gianni Colombo (Castello di Rivoli, Turin, 2009), co-curated with Carolyn Christov-Bakargiev. Currently, he is working on the next phase of Disobedience Archive, which will be presented at MIT (Boston).
Andris Brinkmanis is a freelance art critic and curator based in Milan and Venice. He is a coordinator and lecturer for the MA of Visual Arts and Curatorial Studies at NABA in Milan and the International Editor of No Order. His writings can be found in periodicals such as Flash Art International, Arte e Critica, and Studija. Amongst recent exhibitions he has curated are October: Exit, Memory and Desire (Artra Gallery, Milan, 2007) co-curated with Marco Scotini, Mortals: Anton Corbijn (Arsenals Exhibition Hall of the Latvian National Museum of Art, Riga, 2005), and The Dream Island (NOASS, BETANOVUSS, AB Dambis Open Air Museum, Riga, 2004).
He has collaborated with the Estonian Pavilion for the Venice Biennale from 2007 to 2011, with the Central Asian Pavilion for the 54th Venice Biennale, and with curator Marco Scotini for the exhibition Der Prozess: Collective Memory and Social History on the occasion of Prague Biennale 3, 2007. He is Assistant Curator of the ongoing project Disobedience Archive since 2007. He has organized the international seminar Learning Machines: Discourses with the participation of 20 international guests on the occasion of the 30th anniversary of Nuova Accademia di Belle Arti Milano, NABA.
2: Full House for the Mostly What Is Unsaid discussion and launch.
3: Andris Brinkmanis (left) and Marco Scotini (right) moderate the discussion.
4: Art metropole Director Corinn Gerber (Centre) gets this rolling.