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The Right to the City XXX. San Serriffe. Amsterdam 2022. + info
2022
Technical specifications: podcast, archival materials, printed bandana.
The Right to the City XXX is a podcast that explores Amsterdam’s grassroots resistance against homelessness and unaffordable housing, and its consequent fuel of counterculture platforms in the city, in the past and in the present.
The project defines an alternative map of the city through a series of conversations and sound-pieces raising questions such as: How to survive today’s neoliberal policy in Amsterdam? Is it possible to create alliances from different positions and privileges to claim back together our Right to the City? What role does art and artists have to play in the ongoing housing struggle, as they are often used as agents of gentrification?
The Right to the City XXX merges Loma Doom (Femke Dekker) and Werker Collective’s long term practices which investigate the role of archives as a tools for resistance and political imagination with contributions by Mokum Kraakt, Niet te Koop, OCCII, W139, We Are Here, Adam Adriss, Ad de Jong, Guilly Koster, Teferi Mekonen, Boudewijn Ruckert, Sjoerd Stolk, Wouter Stroet, Alite Thijsen, Elke Uitentuis, Annegriet Wietsma.
An edition of screen-printed bandanas has been designed by Werker to help spread the sound waves through the city. A selection of archival materials from Werker's Amator Archive on the topic of housing struggle in Amsterdam, from the first rent strikes of the 1930’s until today is on display at San Serriffe.
With the generous support of Social Practice Workshop (Rijksakademie van Beeldende Kunsten), Education from Below (European Culture Fonds), San Serriffe (Mondriaan Fund).
Technical specifications: podcast, archival materials, printed bandana.
The Right to the City XXX is a podcast that explores Amsterdam’s grassroots resistance against homelessness and unaffordable housing, and its consequent fuel of counterculture platforms in the city, in the past and in the present.
The project defines an alternative map of the city through a series of conversations and sound-pieces raising questions such as: How to survive today’s neoliberal policy in Amsterdam? Is it possible to create alliances from different positions and privileges to claim back together our Right to the City? What role does art and artists have to play in the ongoing housing struggle, as they are often used as agents of gentrification?
The Right to the City XXX merges Loma Doom (Femke Dekker) and Werker Collective’s long term practices which investigate the role of archives as a tools for resistance and political imagination with contributions by Mokum Kraakt, Niet te Koop, OCCII, W139, We Are Here, Adam Adriss, Ad de Jong, Guilly Koster, Teferi Mekonen, Boudewijn Ruckert, Sjoerd Stolk, Wouter Stroet, Alite Thijsen, Elke Uitentuis, Annegriet Wietsma.
An edition of screen-printed bandanas has been designed by Werker to help spread the sound waves through the city. A selection of archival materials from Werker's Amator Archive on the topic of housing struggle in Amsterdam, from the first rent strikes of the 1930’s until today is on display at San Serriffe.
With the generous support of Social Practice Workshop (Rijksakademie van Beeldende Kunsten), Education from Below (European Culture Fonds), San Serriffe (Mondriaan Fund).
Diffusion: 'The Right to the City XXX' San Serriffe. Amsterdam 2022. Rijks Open Studios 2022, Amsterdam.
soundcloud.com/therighttothecityxxx
rijksakademie.nl
soundcloud.com/therighttothecityxxx
rijksakademie.nl
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The Right to the City XXX. San Serriffe. Amsterdam 2022. + info
2022
Technical specifications: podcast, archival materials, printed bandana.
The Right to the City XXX is a podcast that explores Amsterdam’s grassroots resistance against homelessness and unaffordable housing, and its consequent fuel of counterculture platforms in the city, in the past and in the present.
The project defines an alternative map of the city through a series of conversations and sound-pieces raising questions such as: How to survive today’s neoliberal policy in Amsterdam? Is it possible to create alliances from different positions and privileges to claim back together our Right to the City? What role does art and artists have to play in the ongoing housing struggle, as they are often used as agents of gentrification?
The Right to the City XXX merges Loma Doom (Femke Dekker) and Werker Collective’s long term practices which investigate the role of archives as a tools for resistance and political imagination with contributions by Mokum Kraakt, Niet te Koop, OCCII, W139, We Are Here, Adam Adriss, Ad de Jong, Guilly Koster, Teferi Mekonen, Boudewijn Ruckert, Sjoerd Stolk, Wouter Stroet, Alite Thijsen, Elke Uitentuis, Annegriet Wietsma.
An edition of screen-printed bandanas has been designed by Werker to help spread the sound waves through the city. A selection of archival materials from Werker's Amator Archive on the topic of housing struggle in Amsterdam, from the first rent strikes of the 1930’s until today is on display at San Serriffe.
With the generous support of Social Practice Workshop (Rijksakademie van Beeldende Kunsten), Education from Below (European Culture Fonds), San Serriffe (Mondriaan Fund).
Technical specifications: podcast, archival materials, printed bandana.
The Right to the City XXX is a podcast that explores Amsterdam’s grassroots resistance against homelessness and unaffordable housing, and its consequent fuel of counterculture platforms in the city, in the past and in the present.
The project defines an alternative map of the city through a series of conversations and sound-pieces raising questions such as: How to survive today’s neoliberal policy in Amsterdam? Is it possible to create alliances from different positions and privileges to claim back together our Right to the City? What role does art and artists have to play in the ongoing housing struggle, as they are often used as agents of gentrification?
The Right to the City XXX merges Loma Doom (Femke Dekker) and Werker Collective’s long term practices which investigate the role of archives as a tools for resistance and political imagination with contributions by Mokum Kraakt, Niet te Koop, OCCII, W139, We Are Here, Adam Adriss, Ad de Jong, Guilly Koster, Teferi Mekonen, Boudewijn Ruckert, Sjoerd Stolk, Wouter Stroet, Alite Thijsen, Elke Uitentuis, Annegriet Wietsma.
An edition of screen-printed bandanas has been designed by Werker to help spread the sound waves through the city. A selection of archival materials from Werker's Amator Archive on the topic of housing struggle in Amsterdam, from the first rent strikes of the 1930’s until today is on display at San Serriffe.
With the generous support of Social Practice Workshop (Rijksakademie van Beeldende Kunsten), Education from Below (European Culture Fonds), San Serriffe (Mondriaan Fund).
Diffusion: 'The Right to the City XXX' San Serriffe. Amsterdam 2022. Rijks Open Studios 2022, Amsterdam.
soundcloud.com/therighttothecityxxx
rijksakademie.nl
soundcloud.com/therighttothecityxxx
rijksakademie.nl
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Amator Archives: On Queer Reproduction. Rijksakademie Open Studios, Amsterdam 2022 + info
2022
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Currently, Werker is doing research around the topic of queer reproduction, a term that has been used academically to address how non-heteronormative people access assisted reproductive technology in order to reproduce asexually. More so than biological reproduction, we are interested in queer reproduction as a passing on of knowledge and (counter)cultures, from generation to generation, through gatherings, parties, art, literature, music, publications, and forms of care and touch. Embracing a social and cultural understanding of what a queer reproduction might be allows us to celebrate our queer past, present, and future hxstories, beyond mere comparisons to heteronormative modes of living.
Diffusion: Rijksakademie Open Studios, Amsterdam 2022. Manifesta 14, Prishtina 2022.Rijksakdemie van Beeldende Kunsten
Manifesta 14
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Amator Archives: On Queer Reproduction. Rijksakademie Open Studios, Amsterdam 2022 + info
2022
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Currently, Werker is doing research around the topic of queer reproduction, a term that has been used academically to address how non-heteronormative people access assisted reproductive technology in order to reproduce asexually. More so than biological reproduction, we are interested in queer reproduction as a passing on of knowledge and (counter)cultures, from generation to generation, through gatherings, parties, art, literature, music, publications, and forms of care and touch. Embracing a social and cultural understanding of what a queer reproduction might be allows us to celebrate our queer past, present, and future hxstories, beyond mere comparisons to heteronormative modes of living.
Diffusion: Rijksakademie Open Studios, Amsterdam 2022. Manifesta 14, Prishtina 2022.Rijksakdemie van Beeldende Kunsten
Manifesta 14
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Amator Archives: On Queer Reproduction. Rijksakademie Open Studios, Amsterdam 2022 + info
2022
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Currently, Werker is doing research around the topic of queer reproduction, a term that has been used academically to address how non-heteronormative people access assisted reproductive technology in order to reproduce asexually. More so than biological reproduction, we are interested in queer reproduction as a passing on of knowledge and (counter)cultures, from generation to generation, through gatherings, parties, art, literature, music, publications, and forms of care and touch. Embracing a social and cultural understanding of what a queer reproduction might be allows us to celebrate our queer past, present, and future hxstories, beyond mere comparisons to heteronormative modes of living.
Diffusion: Rijksakademie Open Studios, Amsterdam 2022. Manifesta 14, Prishtina 2022.Rijksakdemie van Beeldende Kunsten
Manifesta 14
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Amator Archives: On Queer Reproduction. Rijksakademie Open Studios, Amsterdam 2022 + info
2022
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Technical specifications: Installation, workshops and website
Archiving and counter-archiving are central to the practice of Werker Collective. Their work revolves around an ever-expanding collection of books, photographs, magazines and other print matter on subjects such as labour, solidarity and the body. Comprising several thousand documents, the archive is continuously activated by people working in different constellations: to collectively explore marginalised histories and to generate new political imaginaries. These explorations take the form of workshops and publications, performances and installations.
Currently, Werker is doing research around the topic of queer reproduction, a term that has been used academically to address how non-heteronormative people access assisted reproductive technology in order to reproduce asexually. More so than biological reproduction, we are interested in queer reproduction as a passing on of knowledge and (counter)cultures, from generation to generation, through gatherings, parties, art, literature, music, publications, and forms of care and touch. Embracing a social and cultural understanding of what a queer reproduction might be allows us to celebrate our queer past, present, and future hxstories, beyond mere comparisons to heteronormative modes of living.
Diffusion: Manifesta 14, Prishtina 2022. Rijksakademie Open Studios, Amsterdam 2022.Rijksakdemie van Beeldende Kunsten
Manifesta 14
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Textiles of Resistance: Growing, Weaving, Printing, Archiving. sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021 + info
2021
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Conversations with different collectives and individuals around documents that differentiate between non-human bodies and ecosystems inform relations to care and work to reveal the tension between information and rhythm—relations to content ingrained in patterns—such as reading and wearing, touching and embodying. A selection from the archive generates a participatory platform with source materials for designing textiles that physically manifest the archive and address the project’s core question: How can Werker Collective’s design and artistic practice be rearticulated to enable and support an ecosystem of care in balance with nature and non-human forms of life?
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
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Textiles of Resistance: Growing, Weaving, Printing, Archiving. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021 + info
2021
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Conversations with different collectives and individuals around documents that differentiate between non-human bodies and ecosystems inform relations to care and work to reveal the tension between information and rhythm—relations to content ingrained in patterns—such as reading and wearing, touching and embodying. A selection from the archive generates a participatory platform with source materials for designing textiles that physically manifest the archive and address the project’s core question: How can Werker Collective’s design and artistic practice be rearticulated to enable and support an ecosystem of care in balance with nature and non-human forms of life?
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
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Textiles of Resistance: Growing, Weaving, Printing, Archiving. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021 + info
2021
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Conversations with different collectives and individuals around documents that differentiate between non-human bodies and ecosystems inform relations to care and work to reveal the tension between information and rhythm—relations to content ingrained in patterns—such as reading and wearing, touching and embodying. A selection from the archive generates a participatory platform with source materials for designing textiles that physically manifest the archive and address the project’s core question: How can Werker Collective’s design and artistic practice be rearticulated to enable and support an ecosystem of care in balance with nature and non-human forms of life?
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
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Textiles of Resistance: Growing, Weaving, Printing, Archiving. rijks open 21. Amsterdam 2021 + info
2021
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Conversations with different collectives and individuals around documents that differentiate between non-human bodies and ecosystems inform relations to care and work to reveal the tension between information and rhythm—relations to content ingrained in patterns—such as reading and wearing, touching and embodying. A selection from the archive generates a participatory platform with source materials for designing textiles that physically manifest the archive and address the project’s core question: How can Werker Collective’s design and artistic practice be rearticulated to enable and support an ecosystem of care in balance with nature and non-human forms of life?
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
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Textiles of Resistance: Growing, Weaving, Printing, Archiving. rijks open 21. Amsterdam 2021 + info
2021
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Conversations with different collectives and individuals around documents that differentiate between non-human bodies and ecosystems inform relations to care and work to reveal the tension between information and rhythm—relations to content ingrained in patterns—such as reading and wearing, touching and embodying. A selection from the archive generates a participatory platform with source materials for designing textiles that physically manifest the archive and address the project’s core question: How can Werker Collective’s design and artistic practice be rearticulated to enable and support an ecosystem of care in balance with nature and non-human forms of life?
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
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Textiles of Resistance: Growing, Weaving, Printing, Archiving. rijks open 21. Amsterdam 2021 + info
2021
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Technical specifications: Installation, metal frames, silkscreen prints on recycled textiles, handwoven textiles, archival material, series of workshops.
Diffusion: RIJKS OPEN 21, Amsterdam. Sonsbeek 20–24: Force, Times, Distance. On Labour and its Sonic Ecologies. Arnhem 2021.
Textiles of Resistance: Growing, Weaving, Printing, Archiving uses the eponymous processes to question the material basis of the own archive: paper, a substance that must be isolated to be preserved, and which is emblematic of the human/nature divide. In translating the archive onto fabric, a greater interaction between nature and non-human forms of life incurs, experimenting with the labour and ecology of craft in artisanal production. A gardening practice is developed alongside. By working with plants, the project also traces the craft of colour: its social, political, symbolic and ecological implications.
Conversations with different collectives and individuals around documents that differentiate between non-human bodies and ecosystems inform relations to care and work to reveal the tension between information and rhythm—relations to content ingrained in patterns—such as reading and wearing, touching and embodying. A selection from the archive generates a participatory platform with source materials for designing textiles that physically manifest the archive and address the project’s core question: How can Werker Collective’s design and artistic practice be rearticulated to enable and support an ecosystem of care in balance with nature and non-human forms of life?
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
Project in collaboration with Gleb Maiboroda and studio bonbon
Rijksakademie van Beeldende Kunsten
Sonsbeek 20–24: Force, Times, Distance
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Yes with Us, Never about Us. Art/Workers, Solidarity & Privilege. Collectively, Iaspis, Stockholm, 2021 + info
2021
Technical specifications: Two collages and essay.
Diffusion: Collectively. Isapis, Stockholm 2021.
Technical specifications: Two collages and essay.
Diffusion: Collectively. Isapis, Stockholm 2021.
The history of artists’ engagement in workers’ struggles is as long as the distrust of intelligentsia by the revolutionary working class. After the 1917 Bolshevik Revolution in Russia, more than 160 intellectuals were expelled with their families on so-called ‘Philosophers’ Ships’ from Petrograd (today Saint Petersburg) to Stettin in Germany (today Szczecin, Poland). Later, in 1922, more intellectuals were to be transported by train to Riga or by ship from Odessa to Istanbul. Contemporary examples of artist persecution can be found in the Republic of Cuba or China, where artists and intellectuals are subjected to arbitrary arrest and detention, accused of promoting dissident behavior. In 2019, The National Assembly of People’s Power in Cuba approved a decree in the new constitution (Decreto 349) that enforces state control over art events and obliges all artists to adhere to official cultural institutions. A new authority has been introduced known as the ‘cultural inspector’, with powers to stop any artistic manifestation considered to not be conforming with the ideals of the revolution. [...] continue reading
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Werker 2 — A Gestural History of the Young Worker. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022 + info
2020
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Images and documents for this project have been gathered collectively from the variety of visual sources such as propaganda and glossy magazines, museum and library archives, grassroots documentary photography, and paraphernalia found in flea markets. Presented together these pictures create an image of the worker as queer; the radical emancipative struggle of the worker is aligned with political practices of LGBTQ+. Highlighting these analogies, Werker Collective creates a utopian image of synthesis of work and desire.
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
15 / 40
Werker 2 — A Gestural History of the Young Worker. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022 + info
2020
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Images and documents for this project have been gathered collectively from the variety of visual sources such as propaganda and glossy magazines, museum and library archives, grassroots documentary photography, and paraphernalia found in flea markets. Presented together these pictures create an image of the worker as queer; the radical emancipative struggle of the worker is aligned with political practices of LGBTQ+. Highlighting these analogies, Werker Collective creates a utopian image of synthesis of work and desire.
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
16 / 40
Werker 2 — A Gestural History of the Young Worker. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, 2020 + info
2020
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Images and documents for this project have been gathered collectively from the variety of visual sources such as propaganda and glossy magazines, museum and library archives, grassroots documentary photography, and paraphernalia found in flea markets. Presented together these pictures create an image of the worker as queer; the radical emancipative struggle of the worker is aligned with political practices of LGBTQ+. Highlighting these analogies, Werker Collective creates a utopian image of synthesis of work and desire.
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
17 / 40
Werker 2 — A Gestural History of the Young Worker. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, 2020 + info
2020
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Technical specifications: Installation (modular system with metal bars and screenprints on paper, red light), publication.
A Gestural History of the Young Worker is an attempt to reconstruct histories of the oppressed. Gestures are primary manifestations of bodies in social space, as they precede words in expressing desire, pain, excitement, relaxation and anxiety. Bodies whose capacity to speak is restricted by the environment in which they live, develop a vocabulary beyond the spoken word.
Images and documents for this project have been gathered collectively from the variety of visual sources such as propaganda and glossy magazines, museum and library archives, grassroots documentary photography, and paraphernalia found in flea markets. Presented together these pictures create an image of the worker as queer; the radical emancipative struggle of the worker is aligned with political practices of LGBTQ+. Highlighting these analogies, Werker Collective creates a utopian image of synthesis of work and desire.
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
Diffusion: The Work of Love, the Queer of Labor. Pratt Manhattan Gallery, New York 2022. Rats! Rats! Rats! The Poetic Grammar of Hacking. CaixaForum, Barcelona 2022. In the Presence of Absence. Proposals for the Museum Collection. Stedelijk Museum, Amsterdam 2020. 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg 2019.
In collaboration with Georgy Mamedov.
In The Presence of Absence. Stedelijk Museum
5th Ural Industrial Biennial of Contemporary Art
18 / 40
Werker 10 — Community Darkroom. Mobile workshop. Installation view. Fundació Antoni Tàpies. Barcelona 2018. + info
2014 — Ongoing
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Diffusion: 'Werker 10 — Escola de Fotografia Popular' Fundació Tàpies, Barcelona 2018. 'Werker 10 — École de Photographie Populaire' FRAC PACA, Marseille 2017.
‘Labour, Motion, Machinery’ TENT, Rotterdam 2016.
‘Werker 10 — Community Darkroom’ Fondazione MAST, Bologna 2015.
‘Werker 10 — Escuela de Fotografía Popular’ Centro de Arte 2 de Mayo, Móstoles
2015.
‘Sin oficio, ni beneficio' XII Bienal de Arte de la Habana, Cuba 2015.
‘Puisqu’on vous dit que c’est possible’ Institut Supérieur des Beaux Arts / Saline Royale d'Arc-et-Senans, 2014.
‘Communal Knowledge’ The Showroom. London 2014.
fundaciotapies.org
ca2m.org
theshowroom.org
fundaciotapies.org
ca2m.org
theshowroom.org
19 / 40
Werker 10 — Community Darkroom. Mobile workshop. Installation view, detail. Fundació Antoni Tàpies. Barcelona 2018. + info
2014 — Ongoing
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Diffusion: 'Werker 10 — Escola de Fotografia Popular' Fundació Tàpies, Barcelona 2018. 'Werker 10 — École de Photographie Populaire' FRAC PACA, Marseille 2017.
‘Labour, Motion, Machinery’ TENT, Rotterdam 2016.
‘Werker 10 — Community Darkroom’ Fondazione MAST, Bologna 2015.
‘Werker 10 — Escuela de Fotografía Popular’ Centro de Arte 2 de Mayo, Móstoles
2015.
‘Sin oficio, ni beneficio' XII Bienal de Arte de la Habana, Cuba 2015.
‘Puisqu’on vous dit que c’est possible’ Institut Supérieur des Beaux Arts / Saline Royale d'Arc-et-Senans, 2014.
‘Communal Knowledge’ The Showroom. London 2014.
fundaciotapies.org
ca2m.org
theshowroom.org
fundaciotapies.org
ca2m.org
theshowroom.org
20 / 40
Werker 10 — Community Darkroom. Mobile workshop. Installation view, detail. Fundació Antoni Tàpies. Barcelona 2018. + info
2014 — Ongoing
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Diffusion: 'Werker 10 — Escola de Fotografia Popular' Fundació Tàpies, Barcelona 2018. 'Werker 10 — École de Photographie Populaire' FRAC PACA, Marseille 2017.
‘Labour, Motion, Machinery’ TENT, Rotterdam 2016.
‘Werker 10 — Community Darkroom’ Fondazione MAST, Bologna 2015.
‘Werker 10 — Escuela de Fotografía Popular’ Centro de Arte 2 de Mayo, Móstoles
2015.
‘Sin oficio, ni beneficio' XII Bienal de Arte de la Habana, Cuba 2015.
‘Puisqu’on vous dit que c’est possible’ Institut Supérieur des Beaux Arts / Saline Royale d'Arc-et-Senans, 2014.
‘Communal Knowledge’ The Showroom. London 2014.
fundaciotapies.org
ca2m.org
theshowroom.org
fundaciotapies.org
ca2m.org
theshowroom.org
21 / 40
Werker 10 — Community Darkroom. Young Worker’s Camera 15/24 years old. Workshop documentation. TENT. Rotterdam 2016. + info
2014 — Ongoing
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Diffusion: 'Werker 10 — Escola de Fotografia Popular' Fundació Tàpies, Barcelona 2018. 'Werker 10 — École de Photographie Populaire' FRAC PACA, Marseille 2017.
‘Labour, Motion, Machinery’ TENT, Rotterdam 2016.
‘Werker 10 — Community Darkroom’ Fondazione MAST, Bologna 2015.
‘Werker 10 — Escuela de Fotografía Popular’ Centro de Arte 2 de Mayo, Móstoles
2015.
‘Sin oficio, ni beneficio' XII Bienal de Arte de la Habana, Cuba 2015.
‘Puisqu’on vous dit que c’est possible’ Institut Supérieur des Beaux Arts / Saline Royale d'Arc-et-Senans, 2014.
‘Communal Knowledge’ The Showroom. London 2014.
fundaciotapies.org
ca2m.org
theshowroom.org
fundaciotapies.org
ca2m.org
theshowroom.org
22 / 40
Werker 10 — Community Darkroom. Young Worker’s Camera 15/24 years old. Image caption: In the bus, back home from work. FRAC PACA. Marseille 2017. + info
2014 — Ongoing
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Technical specifications: Itinerant school of radical documentary
Werker 10 takes its name from the North Paddington Community Darkroom (NPCD), local to The Showroom Gallery in London, which played a key role in the Community Photography Movement of the 1970s. Acting not in the interests of nostalgia, but in order to explore the possibilities of social photography within a contemporary context, Werker have been collaborating with local groups to explore how photography can portray and analyse issues of invisible labour. Domestic, unpaid and volunteer work are just some of the forms of labour recorded or depicted by the subjects themselves. The act of self-representation not only empowers the subject, it makes the invisible visible, and serves as a resistance to dominant representations in the media.
Diffusion: 'Werker 10 — Escola de Fotografia Popular' Fundació Tàpies, Barcelona 2018. 'Werker 10 — École de Photographie Populaire' FRAC PACA, Marseille 2017.
‘Labour, Motion, Machinery’ TENT, Rotterdam 2016.
‘Werker 10 — Community Darkroom’ Fondazione MAST, Bologna 2015.
‘Werker 10 — Escuela de Fotografía Popular’ Centro de Arte 2 de Mayo, Móstoles
2015.
‘Sin oficio, ni beneficio' XII Bienal de Arte de la Habana, Cuba 2015.
‘Puisqu’on vous dit que c’est possible’ Institut Supérieur des Beaux Arts / Saline Royale d'Arc-et-Senans, 2014.
‘Communal Knowledge’ The Showroom. London 2014.
fundaciotapies.org
ca2m.org
theshowroom.org
fundaciotapies.org
ca2m.org
theshowroom.org
23 / 40
Werker 2 — A Spoken History of the Young Worker. Installation view. Manifesta 11 Parallel Events. Fotomuseum Winterthur. Winterthur 2016. + info
2016
– Ongoing
Technical specifications: Offset publication and Installation (20 wall prints on paper, 8 floor prints on vinyl, custom made furniture, microphones, speakers, sound recorder)
This issue of Werker Magazine presents images and documents that have been compiled from secondhand bookstores, online booksellers, personal archives, and street markets over the last few years. How can documents, that originate from different geographies and historical contexts, be performed by its readers? Pre-organized collectives or any engaged visitors are invited to perform an Image Act* using the microphones and scenography provided in the exhibition space. The performances can take any shape but only its sound is recorded. Transcending the borders of the institution into the local context, the recordings are broadcast in public space. A website will keep on expanding, revealing fragments of the recordings and the locations of broadcast.
Technical specifications: Offset publication and Installation (20 wall prints on paper, 8 floor prints on vinyl, custom made furniture, microphones, speakers, sound recorder)
This issue of Werker Magazine presents images and documents that have been compiled from secondhand bookstores, online booksellers, personal archives, and street markets over the last few years. How can documents, that originate from different geographies and historical contexts, be performed by its readers? Pre-organized collectives or any engaged visitors are invited to perform an Image Act* using the microphones and scenography provided in the exhibition space. The performances can take any shape but only its sound is recorded. Transcending the borders of the institution into the local context, the recordings are broadcast in public space. A website will keep on expanding, revealing fragments of the recordings and the locations of broadcast.
Dimensions: Publication (29.7×42 cm 108 p. 1000 copies), Installation (Variable)
Diffusion: ‘Why Exhibit? Positions on Exhibiting Photographies’ Why Not… Gather Together?! by Lars Willumeit. FW: Books, Amsterdam 2018. 'Werker 2 — Image Act' with Master of Voice (Sandberg Institute) San Serriffe, Amsterdam 2016. Photobook Awards 2016. Paris Photo–Aperture Foundation PhotoBook Awards. 'The Applicant' Embassy of the Netherlands. Berlin, 2016. 'Werker 2 — A Spoken History of the Young Worker' Manifesta 11 Parallel Events. Fotomuseum Winterthur 2016. 'Imagineering — (Re)activating the Photographic' Krakow Photomonth. Bunkier Sztuki 2016.
Collection of Fotomuseum Winterthur
werkermagazine.org/imageact
fotomuseum.ch/situations
photomonth.com
Diffusion: ‘Why Exhibit? Positions on Exhibiting Photographies’ Why Not… Gather Together?! by Lars Willumeit. FW: Books, Amsterdam 2018. 'Werker 2 — Image Act' with Master of Voice (Sandberg Institute) San Serriffe, Amsterdam 2016. Photobook Awards 2016. Paris Photo–Aperture Foundation PhotoBook Awards. 'The Applicant' Embassy of the Netherlands. Berlin, 2016. 'Werker 2 — A Spoken History of the Young Worker' Manifesta 11 Parallel Events. Fotomuseum Winterthur 2016. 'Imagineering — (Re)activating the Photographic' Krakow Photomonth. Bunkier Sztuki 2016.
Collection of Fotomuseum Winterthur
werkermagazine.org/imageact
fotomuseum.ch/situations
photomonth.com
24 / 40
Werker 2 — A Spoken History of the Young Worker. Installation view, detail. Manifesta 11 Parallel Events. Fotomuseum Winterthur. Winterthur 2016. + info
2016
– Ongoing
Technical specifications: Offset publication and Installation (20 wall prints on paper, 8 floor prints on vinyl, custom made furniture, microphones, speakers, sound recorder)
This issue of Werker Magazine presents images and documents that have been compiled from secondhand bookstores, online booksellers, personal archives, and street markets over the last few years. How can documents, that originate from different geographies and historical contexts, be performed by its readers? Pre-organized collectives or any engaged visitors are invited to perform an Image Act* using the microphones and scenography provided in the exhibition space. The performances can take any shape but only its sound is recorded. Transcending the borders of the institution into the local context, the recordings are broadcast in public space. A website will keep on expanding, revealing fragments of the recordings and the locations of broadcast.
Technical specifications: Offset publication and Installation (20 wall prints on paper, 8 floor prints on vinyl, custom made furniture, microphones, speakers, sound recorder)
This issue of Werker Magazine presents images and documents that have been compiled from secondhand bookstores, online booksellers, personal archives, and street markets over the last few years. How can documents, that originate from different geographies and historical contexts, be performed by its readers? Pre-organized collectives or any engaged visitors are invited to perform an Image Act* using the microphones and scenography provided in the exhibition space. The performances can take any shape but only its sound is recorded. Transcending the borders of the institution into the local context, the recordings are broadcast in public space. A website will keep on expanding, revealing fragments of the recordings and the locations of broadcast.
Dimensions: Publication (29.7×42 cm 108 p. 1000 copies), Installation (Variable)
Diffusion: ‘Why Exhibit? Positions on Exhibiting Photographies’ Why Not… Gather Together?! by Lars Willumeit. FW: Books, Amsterdam 2018. 'Werker 2 — Image Act' with Master of Voice (Sandberg Institute) San Serriffe, Amsterdam 2016. Photobook Awards 2016. Paris Photo–Aperture Foundation PhotoBook Awards. 'The Applicant' Embassy of the Netherlands. Berlin, 2016. 'Werker 2 — A Spoken History of the Young Worker' Manifesta 11 Parallel Events. Fotomuseum Winterthur 2016. 'Imagineering — (Re)activating the Photographic' Krakow Photomonth. Bunkier Sztuki 2016.
Collection of Fotomuseum Winterthur
werkermagazine.org/imageact
fotomuseum.ch/situations
photomonth.com
Diffusion: ‘Why Exhibit? Positions on Exhibiting Photographies’ Why Not… Gather Together?! by Lars Willumeit. FW: Books, Amsterdam 2018. 'Werker 2 — Image Act' with Master of Voice (Sandberg Institute) San Serriffe, Amsterdam 2016. Photobook Awards 2016. Paris Photo–Aperture Foundation PhotoBook Awards. 'The Applicant' Embassy of the Netherlands. Berlin, 2016. 'Werker 2 — A Spoken History of the Young Worker' Manifesta 11 Parallel Events. Fotomuseum Winterthur 2016. 'Imagineering — (Re)activating the Photographic' Krakow Photomonth. Bunkier Sztuki 2016.
Collection of Fotomuseum Winterthur
werkermagazine.org/imageact
fotomuseum.ch/situations
photomonth.com
25 / 40
Werker 2 — A Spoken History of the Young Worker. Image Act by Vala Thomasz Foltyn. Krakow Photomonth. Bunkier Stuki. Krakow 2016. + info
2016
– Ongoing
Technical specifications: Offset publication and Installation (20 wall prints on paper, 8 floor prints on vinyl, custom made furniture, microphones, speakers, sound recorder)
This issue of Werker Magazine presents images and documents that have been compiled from secondhand bookstores, online booksellers, personal archives, and street markets over the last few years. How can documents, that originate from different geographies and historical contexts, be performed by its readers? Pre-organized collectives or any engaged visitors are invited to perform an Image Act* using the microphones and scenography provided in the exhibition space. The performances can take any shape but only its sound is recorded. Transcending the borders of the institution into the local context, the recordings are broadcast in public space. A website will keep on expanding, revealing fragments of the recordings and the locations of broadcast.
Technical specifications: Offset publication and Installation (20 wall prints on paper, 8 floor prints on vinyl, custom made furniture, microphones, speakers, sound recorder)
This issue of Werker Magazine presents images and documents that have been compiled from secondhand bookstores, online booksellers, personal archives, and street markets over the last few years. How can documents, that originate from different geographies and historical contexts, be performed by its readers? Pre-organized collectives or any engaged visitors are invited to perform an Image Act* using the microphones and scenography provided in the exhibition space. The performances can take any shape but only its sound is recorded. Transcending the borders of the institution into the local context, the recordings are broadcast in public space. A website will keep on expanding, revealing fragments of the recordings and the locations of broadcast.
Dimensions: Publication (29.7×42 cm 108 p. 1000 copies), Installation (Variable)
Diffusion: ‘Why Exhibit? Positions on Exhibiting Photographies’ Why Not… Gather Together?! by Lars Willumeit. FW: Books, Amsterdam 2018. 'Werker 2 — Image Act' with Master of Voice (Sandberg Institute) San Serriffe, Amsterdam 2016. Photobook Awards 2016. Paris Photo–Aperture Foundation PhotoBook Awards. 'The Applicant' Embassy of the Netherlands. Berlin, 2016. 'Werker 2 — A Spoken History of the Young Worker' Manifesta 11 Parallel Events. Fotomuseum Winterthur 2016. 'Imagineering — (Re)activating the Photographic' Krakow Photomonth. Bunkier Sztuki 2016.
Collection of Fotomuseum Winterthur
werkermagazine.org/imageact
fotomuseum.ch/situations
photomonth.com
Diffusion: ‘Why Exhibit? Positions on Exhibiting Photographies’ Why Not… Gather Together?! by Lars Willumeit. FW: Books, Amsterdam 2018. 'Werker 2 — Image Act' with Master of Voice (Sandberg Institute) San Serriffe, Amsterdam 2016. Photobook Awards 2016. Paris Photo–Aperture Foundation PhotoBook Awards. 'The Applicant' Embassy of the Netherlands. Berlin, 2016. 'Werker 2 — A Spoken History of the Young Worker' Manifesta 11 Parallel Events. Fotomuseum Winterthur 2016. 'Imagineering — (Re)activating the Photographic' Krakow Photomonth. Bunkier Sztuki 2016.
Collection of Fotomuseum Winterthur
werkermagazine.org/imageact
fotomuseum.ch/situations
photomonth.com
26 / 40
Imaging Dissent: Towards Becoming a Common Subject. Amsterdam, 2020 + info
2020
Technical specifications: Collage, text and selection of videos
[...] Less like a pencil of nature and more like a shovel of extraction, the invention of photography paralleled the emergence of other technologies in the nineteenth century that accelerated the speed with which natural resources were appropriated for the accumulation of capital. Water and steam provided the relentless motion that structured the lives of the working class. In 1830, the workday ranged from ten to sixteen hours in a six-day working week; no time was left for the working class for leisure outside the polluted cities, nor for self-organization.
Technical specifications: Collage, text and selection of videos
[...] Less like a pencil of nature and more like a shovel of extraction, the invention of photography paralleled the emergence of other technologies in the nineteenth century that accelerated the speed with which natural resources were appropriated for the accumulation of capital. Water and steam provided the relentless motion that structured the lives of the working class. In 1830, the workday ranged from ten to sixteen hours in a six-day working week; no time was left for the working class for leisure outside the polluted cities, nor for self-organization.
The bourgeoisie deployed the technology of photography to develop an archive of “truth” and expand its privileges over the world’s populations, natural resources, and biodiversity. This instrumentalization occurred in tandem with the instrumentalization of the bodies of the working class. New technologies of production developed alongside infrastructures of knowledge that legitimized the authority of the systems in power and reduced the capacity of the working class to revolt. [...] continue reading
Diffusion: e-flux Art & Education Classroom, New York 2020.
Art & Education
Diffusion: e-flux Art & Education Classroom, New York 2020.
Art & Education
27 / 40
Werker 3 — Domestic Worker Photographer Network. Campaign poster. The Grand Domestic Revolution. Casco, Utrecht 2011. + info
2011 – Ongoing
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Diffusion: Amateurism. Museum für Kunst und Gewerbe, Hamburg 2019. ‘365 Days of Invisible Work’ with the Voice of Domestic Workers & the Jo Spence Memorial Archive. Tenderbooks. London, 2018. ‘365 Days of Invisible Work’ with Taula en Defensa dels drets de les treballadores de la llar i les cures. MACBA, Barcelona 2017. 'Domestic Work is Work' Tensta Konsthall. Stockholm 2014. ‘The Grand Domestic Revolution—GOES ON' City of Woman, Ljubljana 2013. 'Work Like This' Tate Modern, London, 2013. ‘Revolution at Point Zero’ with Silvia Federici. Casco. Amsterdam 2012. ‘The Grand Domestic Revolution—User's Manual’ Casco, Utrecht 2011.
'Town meeting: Respect and Recognition for Domestic Work’ Casco. Utrecht 2011.
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
28 / 40
Werker 3 — Domestic Worker Photographer Network. Campaign poster. The Grand Domestic Revolution. Casco, Utrecht 2011. + info
2011 – Ongoing
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Diffusion: Amateurism. Museum für Kunst und Gewerbe, Hamburg 2019. ‘365 Days of Invisible Work’ with the Voice of Domestic Workers & the Jo Spence Memorial Archive. Tenderbooks. London, 2018. ‘365 Days of Invisible Work’ with Taula en Defensa dels drets de les treballadores de la llar i les cures. MACBA, Barcelona 2017. 'Domestic Work is Work' Tensta Konsthall. Stockholm 2014. ‘The Grand Domestic Revolution—GOES ON' City of Woman, Ljubljana 2013. 'Work Like This' Tate Modern, London, 2013. ‘Revolution at Point Zero’ with Silvia Federici. Casco. Amsterdam 2012. ‘The Grand Domestic Revolution—User's Manual’ Casco, Utrecht 2011.
'Town meeting: Respect and Recognition for Domestic Work’ Casco. Utrecht 2011.
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
29 / 40
Bilderkritik 3 — Laundry. Workshop with Justice for Domestic Workers and Andrea Francke. Work Like This. Tate Modern. London 2013. + info
2011 – Ongoing
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Diffusion: Amateurism. Museum für Kunst und Gewerbe, Hamburg 2019. ‘365 Days of Invisible Work’ with the Voice of Domestic Workers & the Jo Spence Memorial Archive. Tenderbooks. London, 2018. ‘365 Days of Invisible Work’ with Taula en Defensa dels drets de les treballadores de la llar i les cures. MACBA, Barcelona 2017. 'Domestic Work is Work' Tensta Konsthall. Stockholm 2014. ‘The Grand Domestic Revolution—GOES ON' City of Woman, Ljubljana 2013. 'Work Like This' Tate Modern, London, 2013. ‘Revolution at Point Zero’ with Silvia Federici. Casco. Amsterdam 2012. ‘The Grand Domestic Revolution—User's Manual’ Casco, Utrecht 2011.
'Town meeting: Respect and Recognition for Domestic Work’ Casco. Utrecht 2011.
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
30 / 40
Embroidering Theory. Series of workshops. Amateur Fotografie. Museum für Kunst und Gewerbe. Hamburg 2019. + info
2019
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Diffusion: Amateurism. Museum für Kunst und Gewerbe, Hamburg 2019. ‘365 Days of Invisible Work’ with the Voice of Domestic Workers & the Jo Spence Memorial Archive. Tenderbooks. London, 2018. ‘365 Days of Invisible Work’ with Taula en Defensa dels drets de les treballadores de la llar i les cures. MACBA, Barcelona 2017. 'Domestic Work is Work' Tensta Konsthall. Stockholm 2014. ‘The Grand Domestic Revolution—GOES ON' City of Woman, Ljubljana 2013. 'Work Like This' Tate Modern, London, 2013. ‘Revolution at Point Zero’ with Silvia Federici. Casco. Amsterdam 2012. ‘The Grand Domestic Revolution—User's Manual’ Casco, Utrecht 2011.
'Town meeting: Respect and Recognition for Domestic Work’ Casco. Utrecht 2011.
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
31 / 40
365 Days of Invisible Work. Publication. Casco, Spector Books & Werker Collective. Leipzig 2017. + info
2011 – Ongoing
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Technical specifications: day calendar, online community, tablecloth, card-invitation, stickers, ads, posters & workshops.
Werker 3 starts as an international community of contributors, the so-called 'Domestic Worker Photographer Network'. In order to generate a collective and horizontal representation of domestic labour, Werker 3 proposes to reflect on today's living and working conditions starting from 'our shared home duties'. From all contributions received, 12 Bilderkritik (image analysis) sessions are organised together with collectives in affinity. The result of Bilderkritik articulates all knowledge obtained through the online community. 365 Days of Invisible Work (2017) is a publication presenting the first 365 contributions to the 'Domestic Worker Photographer Network'. It is published by Werker Collective with Casco & Spector Books.
Diffusion: Amateurism. Museum für Kunst und Gewerbe, Hamburg 2019. ‘365 Days of Invisible Work’ with the Voice of Domestic Workers & the Jo Spence Memorial Archive. Tenderbooks. London, 2018. ‘365 Days of Invisible Work’ with Taula en Defensa dels drets de les treballadores de la llar i les cures. MACBA, Barcelona 2017. 'Domestic Work is Work' Tensta Konsthall. Stockholm 2014. ‘The Grand Domestic Revolution—GOES ON' City of Woman, Ljubljana 2013. 'Work Like This' Tate Modern, London, 2013. ‘Revolution at Point Zero’ with Silvia Federici. Casco. Amsterdam 2012. ‘The Grand Domestic Revolution—User's Manual’ Casco, Utrecht 2011.
'Town meeting: Respect and Recognition for Domestic Work’ Casco. Utrecht 2011.
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
werkermagazine.org/domesticwork
macba.cat
cascoprojects.org/gdr
spectorbooks.com
32 / 40
Werker 4 — An Economic Portrait of the Young Artist. Installation view. Informality: Art, economy, precarity. Stedelijk Museum Bureau Amsterdam. Amsterdam 2011. + info
2011 – 2016
Technical specifications: silk-screened posters on different left-over papers
Inspired by the first illustrated wall-newspapers edited in Russia in the 20's — which could be read in factories, schools, hospitals, worker associations etc. — this issue of Werker Magazine displays, on the gallery walls, an overview of the often unspoken and precarious living and working conditions of young artists. The subjects addressed are: art workforce, canteen, collective housing, diaspora, donation, expelled from the republic, free labour, hierarchy, low wage, my private life, no working permit, part-time job, street value, virtual economy.
Technical specifications: silk-screened posters on different left-over papers
Inspired by the first illustrated wall-newspapers edited in Russia in the 20's — which could be read in factories, schools, hospitals, worker associations etc. — this issue of Werker Magazine displays, on the gallery walls, an overview of the often unspoken and precarious living and working conditions of young artists. The subjects addressed are: art workforce, canteen, collective housing, diaspora, donation, expelled from the republic, free labour, hierarchy, low wage, my private life, no working permit, part-time job, street value, virtual economy.
Dimensions: Series of 15 posters, 120×85 cm (each). Edition of 10.
Diffusion: 'Visceral Blue' La Capella. Barcelona 2016. 'Commonplaces' Can Felipa. Barcelona 2014. 'Des(okupados)' Kiosko Galería. Santa Cruz de la Sierra, 2013. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. 'Access Denied: Working on a new paradigm on migration' Universiteit van Amsterdam, 2012. ‘Informality. Art, economics, precarity’ Stedelijk Museum Bureau Amsterdam, 2011.
Collection of Stedelijk Museum Amsterdam.
lacapella.barcelona
smba.nl
Diffusion: 'Visceral Blue' La Capella. Barcelona 2016. 'Commonplaces' Can Felipa. Barcelona 2014. 'Des(okupados)' Kiosko Galería. Santa Cruz de la Sierra, 2013. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. 'Access Denied: Working on a new paradigm on migration' Universiteit van Amsterdam, 2012. ‘Informality. Art, economics, precarity’ Stedelijk Museum Bureau Amsterdam, 2011.
Collection of Stedelijk Museum Amsterdam.
lacapella.barcelona
smba.nl
33 / 40
Werker 4 — An Economic Portrait of the Young Artist. Installation view, detail. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. + info
2011 – 2016
Technical specifications: silk-screened posters on different left-over papers
Inspired by the first illustrated wall-newspapers edited in Russia in the 20's — which could be read in factories, schools, hospitals, worker associations etc. — this issue of Werker Magazine displays, on the gallery walls, an overview of the often unspoken and precarious living and working conditions of young artists. The subjects addressed are: art workforce, canteen, collective housing, diaspora, donation, expelled from the republic, free labour, hierarchy, low wage, my private life, no working permit, part-time job, street value, virtual economy.
Technical specifications: silk-screened posters on different left-over papers
Inspired by the first illustrated wall-newspapers edited in Russia in the 20's — which could be read in factories, schools, hospitals, worker associations etc. — this issue of Werker Magazine displays, on the gallery walls, an overview of the often unspoken and precarious living and working conditions of young artists. The subjects addressed are: art workforce, canteen, collective housing, diaspora, donation, expelled from the republic, free labour, hierarchy, low wage, my private life, no working permit, part-time job, street value, virtual economy.
Dimensions: Series of 15 posters, 120×85 cm (each). Edition of 10.
Diffusion: 'Visceral Blue' La Capella. Barcelona 2016. 'Commonplaces' Can Felipa. Barcelona 2014. 'Des(okupados)' Kiosko Galería. Santa Cruz de la Sierra, 2013. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. 'Access Denied: Working on a new paradigm on migration' Universiteit van Amsterdam, 2012. ‘Informality. Art, economics, precarity’ Stedelijk Museum Bureau Amsterdam, 2011.
Collection of Stedelijk Museum Amsterdam.
lacapella.barcelona
smba.nl
Diffusion: 'Visceral Blue' La Capella. Barcelona 2016. 'Commonplaces' Can Felipa. Barcelona 2014. 'Des(okupados)' Kiosko Galería. Santa Cruz de la Sierra, 2013. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. 'Access Denied: Working on a new paradigm on migration' Universiteit van Amsterdam, 2012. ‘Informality. Art, economics, precarity’ Stedelijk Museum Bureau Amsterdam, 2011.
Collection of Stedelijk Museum Amsterdam.
lacapella.barcelona
smba.nl
34 / 40
Werker 4 — An Economic Portrait of the Young Artist. Installation view, detail. Informality: Art, economy, precarity. Stedelijk Museum Bureau Amsterdam. Amsterdam 2011. + info
2011 – 2016
Technical specifications: silk-screened posters on different left-over papers
Inspired by the first illustrated wall-newspapers edited in Russia in the 20's — which could be read in factories, schools, hospitals, worker associations etc. — this issue of Werker Magazine displays, on the gallery walls, an overview of the often unspoken and precarious living and working conditions of young artists. The subjects addressed are: art workforce, canteen, collective housing, diaspora, donation, expelled from the republic, free labour, hierarchy, low wage, my private life, no working permit, part-time job, street value, virtual economy.
Technical specifications: silk-screened posters on different left-over papers
Inspired by the first illustrated wall-newspapers edited in Russia in the 20's — which could be read in factories, schools, hospitals, worker associations etc. — this issue of Werker Magazine displays, on the gallery walls, an overview of the often unspoken and precarious living and working conditions of young artists. The subjects addressed are: art workforce, canteen, collective housing, diaspora, donation, expelled from the republic, free labour, hierarchy, low wage, my private life, no working permit, part-time job, street value, virtual economy.
Dimensions: Series of 15 posters, 120×85 cm (each). Edition of 10.
Diffusion: 'Visceral Blue' La Capella. Barcelona 2016. 'Commonplaces' Can Felipa. Barcelona 2014. 'Des(okupados)' Kiosko Galería. Santa Cruz de la Sierra, 2013. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. 'Access Denied: Working on a new paradigm on migration' Universiteit van Amsterdam, 2012. ‘Informality. Art, economics, precarity’ Stedelijk Museum Bureau Amsterdam, 2011.
Collection of Stedelijk Museum Amsterdam.
lacapella.barcelona
smba.nl
Diffusion: 'Visceral Blue' La Capella. Barcelona 2016. 'Commonplaces' Can Felipa. Barcelona 2014. 'Des(okupados)' Kiosko Galería. Santa Cruz de la Sierra, 2013. 'Our Work is Never Over' PHotoEspaña. Matadero Contemporary Art Center. Madrid 2012. 'Access Denied: Working on a new paradigm on migration' Universiteit van Amsterdam, 2012. ‘Informality. Art, economics, precarity’ Stedelijk Museum Bureau Amsterdam, 2011.
Collection of Stedelijk Museum Amsterdam.
lacapella.barcelona
smba.nl
35 / 40
Werker 7 — The Language of Revolution Index. Installation view. 'Tomorrow is a Different Day: Collection 1980–NOW' Stedelijk Museum 2022. Photo: Gert-Jan van Rooij + info
2013
Technical specifications: framed xerographies , vinyl lettering.
This issue of Werker questions the function carried out by photography in the construction of a global revolutionary language. If revolution is a language, wrote Azoulay, photography is the paper we write it on. Werker 7 borrowed its title from the conference The Language of Revolution- Tidings from the East, given by Ariella Azoulay at the Museu d’Art Contemporani de Barcelona in 2011, and was initially presented in the form of a newspaper, combining images taken from the Internet with concepts from Azoulay’s text. On this occasion, its index page is materialised as an installation from which images are absent.
Technical specifications: framed xerographies , vinyl lettering.
This issue of Werker questions the function carried out by photography in the construction of a global revolutionary language. If revolution is a language, wrote Azoulay, photography is the paper we write it on. Werker 7 borrowed its title from the conference The Language of Revolution- Tidings from the East, given by Ariella Azoulay at the Museu d’Art Contemporani de Barcelona in 2011, and was initially presented in the form of a newspaper, combining images taken from the Internet with concepts from Azoulay’s text. On this occasion, its index page is materialised as an installation from which images are absent.
Dimensions: 47 framed xerographies 30×40 cm. Series of 3 + 1 AP.
Diffusion: 'Tomorrow is a Different Day: Collection 1980–NOW' Stedelijk Museum. Amsterdam 2022. 'A Short Century: MACBA Collection' Museu d'Art Contemporani de Barcelona 2018. ‘Fotografies com a espai públic’ Sala Bòlit. Girona 2018. ‘Fotografies com a espai públic’ Arts Santa Mónica. Barcelona 2017. 'On the Move' Stedelijk Museum. Amsterdam, 2014. ‘Werker Sweatshop’ García Galería. Madrid 2013.
Collection of Stedelijk Museum & MACBA
stedelijk.nl
macba.cat
garciagaleria.com
Diffusion: 'Tomorrow is a Different Day: Collection 1980–NOW' Stedelijk Museum. Amsterdam 2022. 'A Short Century: MACBA Collection' Museu d'Art Contemporani de Barcelona 2018. ‘Fotografies com a espai públic’ Sala Bòlit. Girona 2018. ‘Fotografies com a espai públic’ Arts Santa Mónica. Barcelona 2017. 'On the Move' Stedelijk Museum. Amsterdam, 2014. ‘Werker Sweatshop’ García Galería. Madrid 2013.
Collection of Stedelijk Museum & MACBA
stedelijk.nl
macba.cat
garciagaleria.com
36 / 40
Werker 7 — The Language of Revolution Index. Installation view, detail. 'Werker Sweatshop' García Galería, Madrid 2013. Image: Roberto Ruiz. + info
2013
Technical specifications: framed xerographies , vinyl lettering.
This issue of Werker questions the function carried out by photography in the construction of a global revolutionary language. If revolution is a language, wrote Azoulay, photography is the paper we write it on. Werker 7 borrowed its title from the conference The Language of Revolution- Tidings from the East, given by Ariella Azoulay at the Museu d’Art Contemporani de Barcelona in 2011, and was initially presented in the form of a newspaper, combining images taken from the Internet with concepts from Azoulay’s text. On this occasion, its index page is materialised as an installation from which images are absent.
Technical specifications: framed xerographies , vinyl lettering.
This issue of Werker questions the function carried out by photography in the construction of a global revolutionary language. If revolution is a language, wrote Azoulay, photography is the paper we write it on. Werker 7 borrowed its title from the conference The Language of Revolution- Tidings from the East, given by Ariella Azoulay at the Museu d’Art Contemporani de Barcelona in 2011, and was initially presented in the form of a newspaper, combining images taken from the Internet with concepts from Azoulay’s text. On this occasion, its index page is materialised as an installation from which images are absent.
Dimensions: 47 framed xerographies 30×40 cm. Series of 3 + 1 AP.
Diffusion: 'A Short Century: MACBA Collection' Museu d'Art Contemporani de Barcelona 2018. ‘Fotografies com a espai públic’ Sala Bòlit. Girona 2018. ‘Fotografies com a espai públic’ Arts Santa Mónica. Barcelona 2017. 'On the Move' Stedelijk Museum. Amsterdam, 2014. ‘Werker Sweatshop’ García Galería. Madrid 2013.
Collection of Stedelijk Museum & MACBA
stedelijk.nl
garciagaleria.com
macba.cat
Diffusion: 'A Short Century: MACBA Collection' Museu d'Art Contemporani de Barcelona 2018. ‘Fotografies com a espai públic’ Sala Bòlit. Girona 2018. ‘Fotografies com a espai públic’ Arts Santa Mónica. Barcelona 2017. 'On the Move' Stedelijk Museum. Amsterdam, 2014. ‘Werker Sweatshop’ García Galería. Madrid 2013.
Collection of Stedelijk Museum & MACBA
stedelijk.nl
garciagaleria.com
macba.cat
37 / 40
Werker 7 — The Laguage of Revolution. Installation view, detail. 'Composició de lloc 3' Espai Cultural Caja Madrid, Barcelona 2012. + info
2012
Technical specifications: Newspaper, wall layout.
Werker 7 is meant to be read and discussed collectively. Display its pages on a wall at home, at school or on the floor of a public square… What is a revolutionary image? Which aesthetic elements are involved in the making of a revolution? Does revolution have a global language? What role does photography and the mass-media play in all this? This issue of Werker takes its title from The Language of Revolution- Tidings from the East, a lecture given by Ariella Azoulay in 2011 at the Museu d’Art Contemporani de Barcelona. Her analysis of Egypt’s revolution, through images from the internet, became the inspiration of this work.
Technical specifications: Newspaper, wall layout.
Werker 7 is meant to be read and discussed collectively. Display its pages on a wall at home, at school or on the floor of a public square… What is a revolutionary image? Which aesthetic elements are involved in the making of a revolution? Does revolution have a global language? What role does photography and the mass-media play in all this? This issue of Werker takes its title from The Language of Revolution- Tidings from the East, a lecture given by Ariella Azoulay in 2011 at the Museu d’Art Contemporani de Barcelona. Her analysis of Egypt’s revolution, through images from the internet, became the inspiration of this work.
Dimensions: 48 folded posters + index. 39×58 cm, 3000 copies.
Diffusion: ‘New grammars of the body in protest’ Kunstraum. London 2014. ‘Werker 7 – The Language of Revolution’ San Serriffe, Amsterdam 2014. ‘Werker 7 – The Language of Revolution’ Composició de lloc 3, Espai Cultural Caja Madrid. Barcelona, 2012.
Diffusion: ‘New grammars of the body in protest’ Kunstraum. London 2014. ‘Werker 7 – The Language of Revolution’ San Serriffe, Amsterdam 2014. ‘Werker 7 – The Language of Revolution’ Composició de lloc 3, Espai Cultural Caja Madrid. Barcelona, 2012.
38 / 40
Werker 7 — The Laguage of Revolution. Installation view, detail. 'Composició de lloc 3' Espai Cultural Caja Madrid, Barcelona 2012. + info
2012
Technical specifications: Newspaper, wall layout.
Werker 7 is meant to be read and discussed collectively. Display its pages on a wall at home, at school or on the floor of a public square… What is a revolutionary image? Which aesthetic elements are involved in the making of a revolution? Does revolution have a global language? What role does photography and the mass-media play in all this? This issue of Werker takes its title from The Language of Revolution- Tidings from the East, a lecture given by Ariella Azoulay in 2011 at the Museu d’Art Contemporani de Barcelona. Her analysis of Egypt’s revolution, through images from the internet, became the inspiration of this work.
Technical specifications: Newspaper, wall layout.
Werker 7 is meant to be read and discussed collectively. Display its pages on a wall at home, at school or on the floor of a public square… What is a revolutionary image? Which aesthetic elements are involved in the making of a revolution? Does revolution have a global language? What role does photography and the mass-media play in all this? This issue of Werker takes its title from The Language of Revolution- Tidings from the East, a lecture given by Ariella Azoulay in 2011 at the Museu d’Art Contemporani de Barcelona. Her analysis of Egypt’s revolution, through images from the internet, became the inspiration of this work.
Dimensions: 48 folded posters + index. 39×58 cm, 3000 copies.
Diffusion: ‘New grammars of the body in protest’ Kunstraum. London 2014. ‘Werker 7 – The Language of Revolution’ San Serriffe, Amsterdam 2014. ‘Werker 7 – The Language of Revolution’ Composició de lloc 3, Espai Cultural Caja Madrid. Barcelona, 2012.
Diffusion: ‘New grammars of the body in protest’ Kunstraum. London 2014. ‘Werker 7 – The Language of Revolution’ San Serriffe, Amsterdam 2014. ‘Werker 7 – The Language of Revolution’ Composició de lloc 3, Espai Cultural Caja Madrid. Barcelona, 2012.
39 / 40
Werker Correspondent. Installation view, detail. ‘Centro de Investigación Técnicamente Imprevisible’ Sala de Arte Joven. Madrid 2015. + info
2015 – Ongoing
Technical specifications: Mail art network
Technical specifications: Mail art network
Werker Correspondent aims to develop an autonomous and economically self-sustainable community of reporters and subscribers. The intention of this network is to function as a direct unmediated information source, communicating the everyday realities in different parts of the world. This platform aims to investigate ways of decelerating today’s relentless flow of images, by means of printing those images produced by participants in the network and periodically distributing them by ordinary mail. Werker Correspondent is looking for different kinds of images and affections that can be constructed through a direct connection between contributors and subscribers of the network. We propose empathy and solidarity over clashing civilisations. everydayness and internationalism in contrast to the notion of otherness. autonomy and self-representation in contrast to dominant media.
Diffusion: 'Comercio de Rescate' Galería Servando. Havana, Cuba. ‘C.I.T.I. Centro de Investigación Técnicamente Imprevisible’ Sala de Arte Joven de la Comunidad de Madrid, Spain. Collectivism. Collectives and Their Quest for Value. Foam. Amsterdam, The Netherlands.
Join the network here:
werkermagazine.org/correspondent
Join the network here:
werkermagazine.org/correspondent
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Werker Correspondent. Installation view, detail. ‘Centro de Investigación Técnicamente Imprevisible’ Sala de Arte Joven. Madrid 2015. + info
2015 – Ongoing
Technical specifications: Mail art network
Technical specifications: Mail art network
Werker Correspondent aims to develop an autonomous and economically self-sustainable community of reporters and subscribers. The intention of this network is to function as a direct unmediated information source, communicating the everyday realities in different parts of the world. This platform aims to investigate ways of decelerating today’s relentless flow of images, by means of printing those images produced by participants in the network and periodically distributing them by ordinary mail. Werker Correspondent is looking for different kinds of images and affections that can be constructed through a direct connection between contributors and subscribers of the network. We propose empathy and solidarity over clashing civilisations. everydayness and internationalism in contrast to the notion of otherness. autonomy and self-representation in contrast to dominant media.
Diffusion: 'Comercio de Rescate' Galería Servando. Havana, Cuba. ‘C.I.T.I. Centro de Investigación Técnicamente Imprevisible’ Sala de Arte Joven de la Comunidad de Madrid, Spain. Collectivism. Collectives and Their Quest for Value. Foam. Amsterdam, The Netherlands.
Join the network here:
werkermagazine.org/correspondent
Join the network here:
werkermagazine.org/correspondent