{"id":473,"date":"2016-07-19T12:13:17","date_gmt":"2016-07-19T09:13:17","guid":{"rendered":"http:\/\/eero.storijapan.net\/log\/?p=473"},"modified":"2016-07-19T12:13:17","modified_gmt":"2016-07-19T09:13:17","slug":"20170719-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/20170719-2\/","title":{"rendered":"20170719"},"content":{"rendered":"

“Does ‘art audience’ today really only mean people who have an (economic) interest in the art world?” asks Elvia Wilk on Spike magazine<\/a>. I concur with\u00a0her thinking but have to argue that she didn’t dig deep enough. Reaching\u00a0vanilla-art-audiences is common\u00a0for projects which reject institutional protection and work against status quo (Unfortunately result from such\u00a0encounters are seldom fruitful). The text makes\u00a0an interesting observation on how\u00a0artist deploy non-artist friends as resources: \u00a0“[\u2026] if you hang out around art people long enough eventually you develop a taste for semi-mutually-exploitative collaboration.”. These processes are evident in the\u00a0practice of artists like Outi Heiskanen and particularly her involvement with\u00a0the Record Singers group and the “Bellinin akatemia”. Both group were dependent on non-artist collaborators.<\/p>\n

Pietari shared a neat text: “Debt, neoliberalism and crisis: interview with Maurizio Lazzarato on the indebted condition<\/a>” by Magnus Paulsen Hansen and Mathieu Charbonneau. In the article Maurizio Lazzarato discusses how the\u00a02007\u20132008 crisis has influenced\u00a0creditors and how\u00a0tax-havens force\u00a0debt to the working class:<\/p>\n

“The power of debt in neoliberalism represents a highly efficient mechanism of control and capture, more efficient than the modes of resistance put in place by the workers\u2019 movement. While the latter still focuses on dynamics located within the productive space, power is now exerted on a broader social scale. Hence, there is an asymmetry between capital and the forms of resistance.” “In reality, there is no crisis from the point of view of creditors as they are currently operating a second great appropriation by virtue of capturing the welfare state\u2019s social wealth. [\u2026] the principle of redistribution has been preserved, but the direction of redistribution has been inverted.”<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

“Does ‘art audience’ today really only mean people who have an (economic) interest in the art world?” asks Elvia Wilk on Spike magazine. I concur with\u00a0her thinking but have to argue that she didn’t dig deep enough. Reaching\u00a0vanilla-art-audiences is common\u00a0for projects which reject institutional protection and work against status quo (Unfortunately result from such\u00a0encounters are … <\/p>\n

Continue reading “20170719”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[89,108,109,110,100,16,21],"class_list":["post-473","post","type-post","status-publish","format-standard","hentry","category-log","tag-elvia-wilk","tag-magnus-paulsen-hansen","tag-mathieu-charbonneau","tag-maurizio-lazzarato","tag-outi-heiskanen","tag-pietari-kylmala","tag-record-singers"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/comments?post=473"}],"version-history":[{"count":0,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/473\/revisions"}],"wp:attachment":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/media?parent=473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/categories?post=473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/tags?post=473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}