Faced with trauma, language’s impoverishment is exposed. Other emotional experiences - love, anger, depression, hunger, or even desire, that infest the body with unfamiliarity, find explication through writing. They begin with a want, so find satiation in language, or at the very least, a sense of control. Faced with trauma, language is depleted into inarticulacy, a muted mess of choked words and insubstantial descriptions.
In 2014 W.A.G.E. (Working Artists and the Greater Economy) launched a campaign of certification which ‘publicly recognizes non-profit arts organizations [...] paying artist fees that meet a minimum payment standard’. Josefine Wikström assesses the campaign’s aims within art’s complex relation to the capitalist division of labour
This book documents the first life-cycle of the Post-Media Lab (2011-2014). Taking up Fèlix Guattari’s challenge, the Lab aimed to combine social and media practices into collective assemblages of enunciation in order to confront social monoformity.
During Forensis, an exhibition and conference at the Haus der Kulturen der Welt in Berlin this Spring, researcher-curators Eyal Weizman and Anselm Franke talked to Gal Kirn and Niloufar Tajeri about the relationship of forensics to emancipatory politics and the aesthetic implications of ‘forensic realism’
Mute is hosting this statement in solidarity with the call for a boycott of the Zabludowicz Foundation. It was originally published online a few months ago during the latest round of violent atrocities committed by the Israeli state against Palestinian people. We fully support this boycott and call on our readers and writers to join us in solidarity.
Sometimes ethical claims about public space and 'free expression' conceal private interests and violence against the oppressed. Jacob Bard Rosenberg on the case of Dries Verhoeven and some problematic presuppositions of relational and post-internet art practices
Nationally funded surveillance art is still surveillance – Imri Kahn