As a part of the strike at Uni Melb, Imogen Beynon is presenting on Artists, Unions, and Radical collective strategies: a brief exploration of radical actions in which artists and arts workers have mobilised to improve their working conditions, including the current and historical relationship between the artists and labour movement in Australia. @imogen_alex@artschoolstrike@nteu_au@nteuunimelbbranch
We are super excited to finally launch the Art + Organising Index, a long term project developed by @artists.union.au and @imogen_alex and published by 1856. The index is a growing resource archiving union organising in the art and cultural sectors—it is open for contribution through the website. Web programming by @public.office with design by @testen.studio LINK IN BIO!
A long time in the making!
“They will flee like chaff scattered by the wind or like dust whirling before a storm” was produced as a commission by British artists Hannah Quinlan & Rosie Hastings for 1856, with part of the proceeds going towards future 1856 programming and donations to The Dhadjowa Foundation.
This edition of two prints brings together the Michelangelo sketch, “Archers Shooting at a Herm,” with a scene of modern revolt against a hostile white police force, depicting the tense relationship between states of power and the LGBTQ+ community. Quinlan & Hastings’ diptych represents an unruly clash of registers such as the disciplining power of the state, here depicted in a moment of crisis, and the rebellious energy of the people who protest and occupy public spaces. This edition’s launch is accompanied by an essay by Pip Wallis which can be read online.
The edition is available in two versions:
Special Edition (50 copies, signed and numbered by the artists):
$250 AUD + $50 shipping
Mass edition (500 copies, unsigned, and folded):
$30 AUD + $12 shipping
Link in bio
#hannahquinlanandrosiehastings #michealangelo #1856program #ausunions
Patricia L. Boyd’s “wall pieces” featuring “Aeron” showed in Melbourne at @public.office as a part of Boyd’s project with 1856, cut from the wall, and exhibited as an autonomous work at @kunstvereinmuenchen
We’re back :-)
Join 1856 in conversation with Dana Kopel, writer and former senior publications coordinator at the New Museum where she helped organise the New Museum Union.
Melbourne/Sydney:
10am
Saturday 14 November
East Coast US:
7pm
Friday 13 November
Email [email protected]
for Zoom link
Dana Kopel is a writer and the former senior editor and publications coordinator at the New Museum, where she helped organize the New Museum Union. Her writing appears in Art in America, Frieze, SSENSE, Flash Art, Mousse, X-TRA, and several exhibition catalogues. She lives in New York, where she works as a union organizer with OPEIU Local 153.
@newmuseumunion@danaak
#newmuseumunion #1856program
Ted Gott speaks on the impact of the AIDS crisis on the LGBTI+ and artistic communities of the 1980s and 1990s, their strategies for resistance, survival, grief, and mourning.
Ted Gott is a Senior Curator of International Art at the National Gallery of Victoria. In the late 1980s he moved to the United States during the height of the AIDS epidemic, during this time he collected an archive of cultural material pertaining to the crisis. In 1994, still at the height of the epidemic, he curated The Don't Leave Me This Way: Art in the Age of AIDS at the National Gallery of Australia, Canberra. Some of the artists who participated in this exhibition would not live to see it close.
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Marina Vishmidt will be presenting a synopsis of her recently published book, Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital (Haymarket Books, 2019), from its discussions of temporality and negation, she will attempt to outline what a speculative praxis in the current political moment could look like.
“For the past few decades, it’s been clear that the ascent of finance in capitalist societies has been accompanied by a devaluation and indebtedness of labour. The grip of finance over social reproduction has generated self-optimization or the ‘hustle’ as the mark of this devaluation on a structural as well as subjective level. That’s the broad territory of my work on ‘speculation as a mode of production’. More recently, I’ve been looking into the relationship between this general devaluation of labour, the rise of labour politics in different parts of the art field (what artistic labour looks like once you start to put a price on it) and various discourses of automation. Given ongoing developments, the pandemic presents us with an economic model which, in the absence of capital or labour, has to directly subsidize itself, which is equivalent to cannibalising itself. Picking up on the concluding section of my book on ‘socially speculative’ practices, I will revisit the dialectic between artistic labour and abstract labour under these conditions.”
Marina Vishmidt is a London-based writer, editor and critic occupied mainly with questions around art, labour and value.
Message us for the Zoom link.
Lionel Fogarty reads a selection of his poems on resistance, death, protest, racism, possible futures, perceptible pasts and much more.
4pm AEST, 27 June (11pm West US; 9 EU)
MESSAGE FOR ZOOM LINK ✊
CRISIS! A weekly series of online talks and readings organised by 1856 addressing how artistic labour continues in a time of increased social and economic precarity, as well as discussing the collective strategies of artists to transform their social-economic conditions.
More info on each speaker, link in bio.
