{"id":330,"date":"2016-06-10T23:07:09","date_gmt":"2016-06-10T20:07:09","guid":{"rendered":"http:\/\/eero.storijapan.net\/log\/?p=330"},"modified":"2018-03-29T16:41:12","modified_gmt":"2018-03-29T13:41:12","slug":"20160610-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/20160610-2\/","title":{"rendered":"20160610"},"content":{"rendered":"

In the Finnish art\u00a0yargon artist are always portrayed as underdogs of contemporary society. This status requires\u00a0critical reassessment. By claiming an\u00a0underdog status<\/a> artists exclude themselves from the responsibility of developing more sustainable systems. I think artist are very powerful and their work has an impact in the city. Losing the underdog\u00a0status will\u00a0force us\u00a0to make claims about the world and open our practices up for critique. We can do this together, so let’s agree on something.<\/p>\n

Visited the Sorbus<\/a> crew exhibition at SIC<\/a>\u00a0with Pietari.\u00a0The audience of the exhibition was a positive mix of\u00a0elderly folk and kids. The group presented a 30min movie\u00a0which was a celebration and critique of contemporary yuppie culture. The artwork showed how a group of entrepreneurs search\u00a0for\u00a0inspiration from urban countercultures and\u00a0utilize anti-authoritarian, horizontal\u00a0organizational strategies for their personal economic gain. The movie was a subvertisement\u00a0which\u00a0kept the audience hooked with splatter movie tricks\u00a0and\u00a0clean cinematography. I enjoyed the exhibition and the afterparty.<\/p>\n

The movie\u00a0felt like\u00a0a response to\u00a0recent critique of Sorbus and SIC, which states\u00a0that these\u00a0organization (funded by the Kone foundation and Kulttuurirahasto) inadvertently\u00a0advance economically liberal values\u00a0and partake in gentrification processes\u00a0of\u00a0developing city areas. The critique presents\u00a0these organizations as youthful lubrication for\u00a0liberal city development\u00a0(Much like the\u00a0Restaurant\u00a0days<\/a>\u00a0and other startup incubators).\u00a0Jussi Koitela’s text<\/a>\u00a0also portrays\u00a0these organizations as undemocratic and non-transparent. I think the non-transparency\u00a0part is true.. I really don’t know how Sorbus or SIC curate their events. I don’t know how to befriend them or even where to meet them.<\/p>\n

The way\u00a0they function is very\u00a0different from the way the\u00a0older, national\u00a0artist union associated art spaces are organized.\u00a0These organizations elect members by voting and board members\u00a0can have an significant impact in the direction the associations\u00a0takes. Unfortunately the\u00a0Muu Association<\/a>\u00a0(which serves performance and media-artists) feels corrupted as it has been\u00a0run by the same\u00a0small inner circle for years. But in theory I could join the ranks and work for change\u00a0inside the system. I would have a better opportunity\u00a0impacting the Finnish (and European) art scene through Muu Association then I have through\u00a0any other artist run platform in the world!<\/p>\n

What’s keeping me from joining the association? The 70\u20ac yearly union fee? After paying the fee I would be entitled to legal council from\u00a0the national\u00a0artist association<\/a>\u00a0lawyers and various other benefits (like discounts from local arts and craft shops).\u00a0Paying the fee would give the opportunity to expand my practice. 70\u20ac cannot be the reason.\u00a0I guess it comes down to the feel of the organization. Muu Association feels like it belongs to a different era. It feels old.<\/p>\n

This debate resembles critique concerning the\u00a0DIS collective<\/a>. The question is that can artists appropriate entrepreneurial start-up business strategies\u00a0(tactical media, sponsored\u00a0beer & sex) for changing the world\u00a0and still stay true to their cause. I think that\u00a0the Burning Man festival commodification process<\/a>\u00a0is clear evidence that organizations which fail to establish themselves financially\u00a0will be squatted\u00a0by corporations. To remain\u00a0independent artist organisations need to accumulate their\u00a0own capital. I think union fees is the best way for doing this. After enough capital is accumulated it could be used to acquire property and to use it to benefit the community. Exhibition in this space would advance communism through an acutely curated program of events and publications. I’d call the space “International Muusicbus Space\u00a02.0”.<\/p>\n","protected":false},"excerpt":{"rendered":"

In the Finnish art\u00a0yargon artist are always portrayed as underdogs of contemporary society. This status requires\u00a0critical reassessment. By claiming an\u00a0underdog status artists exclude themselves from the responsibility of developing more sustainable systems. I think artist are very powerful and their work has an impact in the city. Losing the underdog\u00a0status will\u00a0force us\u00a0to make claims about … <\/p>\n

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