The New Productivisms

Activity

The New Productivisms

Seminar

The revolutionary Soviet art produced between the 1910s and the 1930s still has a significant input into many aspects of our cultural model. However, the predominant means of evoking it have historically fluctuated between fetishising its formal inventions and exalting its idealism, expressed as a wishful impossibility within a chimera (viewing «The Revolution» as if it were a mythological monster that always ends up eating its children).

Some dominant views on Soviet avant-gardes have stifled their nature as event, that of an influential outbreak of singularity and difference in relation to the future of the history of art as well as that of its politics. They have also avoided the strong resonance that the power of such an event has had – from then until now – in relation to the search for a politicality to art which, out of necessity, always has to be renewed. This seminar aims to encourage thinking about the currency of certain debates that have taken place around revolutionary Soviet art in two ways: How is the shock wave of that event still felt today, and in what ways can some of its procedures, models and tools be applied?

To that end, this seminar program includes a three-way approach to the case at hand. First, articulation of a genealogy; second, application of a critical reading; and third, tracking of the currency of some of the debates and practices, from which, for this seminar, we've chosen to highlight the ones that arose with the advent of productivism and factography.

Each of these approaches is bound to generate as many questions as answers: What is the potential currency of an art based on production in the midst of a revolution of the capitalist model of production? What would its post-Fordist project be? How can we implement an articulation between art and production that doesn't contribute to expanding aestheticised forms of politics or mass consumption? What is the meaning of art dedicated to recording the facts in the framework of the societies of surveillance and control? Where are today's processes for the radical transformation of society, which the new politicalities of art should contribute to?

This Programme forms part of the PEI's open Programme

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Seminar

The revolutionary Soviet art produced between the 1910s and the 1930s still has a significant input into many aspects of our cultural model. However, the predominant means of evoking it have historically fluctuated between fetishising its formal inventions and exalting its idealism, expressed as a wishful impossibility within a chimera (viewing «The Revolution» as if it were a mythological monster that always ends up eating its children).

Some dominant views on Soviet avant-gardes have stifled their nature as event, that of an influential outbreak of singularity and difference in relation to the future of the history of art as well as that of its politics. They have also avoided the strong resonance that the power of such an event has had – from then until now – in relation to the search for a politicality to art which, out of necessity, always has to be renewed. This seminar aims to encourage thinking about the currency of certain debates that have taken place around revolutionary Soviet art in two ways: How is the shock wave of that event still felt today, and in what ways can some of its procedures, models and tools be applied?

To that end, this seminar program includes a three-way approach to the case at hand. First, articulation of a genealogy; second, application of a critical reading; and third, tracking of the currency of some of the debates and practices, from which, for this seminar, we’ve chosen to highlight the ones that arose with the advent of productivism and factography.

Each of these approaches is bound to generate as many questions as answers: What is the potential currency of an art based on production in the midst of a revolution of the capitalist model of production? What would its post-Fordist project be? How can we implement an articulation between art and production that doesn’t contribute to expanding aestheticised forms of politics or mass consumption? What is the meaning of art dedicated to recording the facts in the framework of the societies of surveillance and control? Where are today’s processes for the radical transformation of society, which the new politicalities of art should contribute to?

This Programme forms part of the PEI’s open Programme

show more show less
dates
27 March 2009 – 28 March 2009
price
Free admission. MACBA Auditorium. Limited seating
title
The New Productivisms
dates
27 March 2009 – 28 March 2009
title
The New Productivisms
price
Free admission. MACBA Auditorium. Limited seating
Lectures, courses and seminars
All audiences
related activities
0 activities

highlights

3 results
Hito Steyerl: Documentar (en) les societats de contro -- Makrabol: Els nous nuaments entre art i ciència -- Debat i conclusions amb Brian Hmes -- Dmitry Vilensky (Chto delat?): Col·lectivisme artístic després de l'avantguarda -- Doug Ashford (Group Material): La reinvenció de l'activisme artístic -- Els nous productivismes [Enregistrament audiovisual activitat]
Hito Steyerl: Documentar (en) les societats de contro — Makrabol: Els nous nuaments entre art i ciència — Debat i conclusions amb Brian Hmes — Dmitry Vilensky (Chto delat?): Col·lectivisme artístic després de l’avantguarda — Doug Ashford (Group Material): La reinvenció de l’activisme artístic — Els nous productivismes [Enregistrament audiovisual activitat]
document
Els nous productivismes [Full de mà]
Els nous productivismes [Full de mà]
document
Devin Fore: Labor sans phrase -- Els nous productivismes [Enregistrament audiovisual activitat]
Devin Fore: Labor sans phrase — Els nous productivismes [Enregistrament audiovisual activitat]
document

highlights

12 results
Conclusions with Brian Holmes
Documenting (in) Societies of Control
New Links between Art and Science
Art Collectivism after the Avant-Garde
The Reinvention of Art Activism
Artistic production of the Socialist object
Labor sans phrase
Labor sans phrase
Artistic production of the Socialist object
New Links between Art and Science
Documenting (in) Societies of Control
Conclusions with Brian Holmes