Why? Read our wo/manifesto.
Haben und Brauchen lädt ein: Präsentation und öffentliche Diskussion des Konzepts für einen längerfristigen Dialogprozess zwischen freien und institutionellen Akteuren der zeitgenössischen Kunst und dem Berliner Senat.
Montag, den 20. Oktober 2014 um 18 Uhr
ZK/U – Zentrum für Kunst und Urbanistik
Siemensstraße 27–49, 10551 Berlin
What does is mean to struggle against precarity, globalization and neoliberalism in embodied terms? How do we forge networks of care, post-national struggles and solidarities in our everyday? When do we resist displacement and how do we resist through displacement? How do we think consistency and sustainability? What terms serve us to think an ethics and politics of displacement – situated/adrift, local/global, intimate/alienated, individual/collective, independent/interdependent, coming/going, flight/promise, transversality/intersectionality? What are the ways in which contemporary practices of displacement are produced by the neoliberal paradigm and embedded within structures and systems of governance?
Unions, including Teamsters Joint Council 16 and IATSE, reached an agreement with Frieze New York regarding its hiring practices. This year, the art fair will hire some union labor to construct the fair’s tent on Randall’s Island. Starting in 2015, Frieze New York has committed to hiring 100% union labor. We applaud Frieze’s effort in supporting fair labor practices and its long-term commitment to set an example for the rest of the industry.
Arts & Labor has stood in solidarity with the unions throughout this effort.
We aim to represent artists at strategic decision-making levels and positively influence the role artists play within society.
We aim to challenge the economic inequalities in the art world and to negotiate fair pay and better working conditions for artists.
We aim to work with other unions, arts organisations, government bodies and cultural institutions whilst remaining both independent and transparent.
We aim towards consensus decision-making, an active grass roots membership and involvement over a wide geographical spread.
The present-day economic downturn is reminiscent of the Great Depression in terms of the overall morass of poverty, unemployment, and foreclosures, yet key differences separate the two eras. The 1930s was a time of massive organizing, strikes, union activity, and dissent that forced FDR and the New Deal to the left. 2009 (or 2013) does not provide us with such inspiring levels of resistance.
If the 1930s can teach us one key lesson, it is the need to organize. Nothing changes when people do not engage in the long and difficult work of building a diverse, multi-cultural, working class movement from the ground up. This includes artists. Fortunately, the 1930s provides us with multiple examples of how artists worked collectively to confront the economic crisis of their time.
What the Artists’ Union of the 1930s Can Teach Us Today by Nicolas Lampert