<nettime> Open Call: ArtLeaks Gazette No.2

["Corina L. Apostol" <corina.lucia.apostol@gmail.com>]

(An)Other Art World(s)? Imagination Beyond Fiction

Our first issue of the ArtLeaks Gazette was aimed at bringing critical
awareness of the challenges and obstacles of the contemporary art system.
While we considered this a necessary initial step in enacting meaningful
transformations of this system, we now feel the need to move beyond
exposure and breaking the silence into ways of engagement, or what does it
mean to be agents of change in the art world today?

The question of engagement is not singular to the art world, as activists
and peers continue to grapple with it in the wake of the post-Occupy
challenges. Just as activits have re-claimed and organized squares, parks
and streets for a life-changing experience, so cultural workers have
occupied cultural spaces, have disrupted the business cycles of galleries
and auction houses, and have organized alternative schools and
conscious-raising workshops. Nonetheless, we all share the frustration that
all this is ephemeral, temporary, that as we participate in something
magical together, it inevitably comes to an end. While we have been
successful at transforming small spaces for short periods of time, there is
still much work to do in the way of a long-lasting and depth-reaching
transformation of culture and society.

The main question that the second issue of the ArtLeaks Gazette addresses
is: What are the conditions and possibilities of alternative art worlds?
And because we ask about that which is yet to come, how can we engage and
use our imagination, avoiding, at the same time, the traps of utopian
thinking? In many ways, these questions are precisely related to the
challenge of special and temporal limitations, of the continuity of
building more engaged institutions, sustainable socio-political practices,
something which we can come back to and extend. It seeks to bring together
a host of proposals for practices, platforms, organizations and ask how we
can push further beyond their being too local and temporary. One step
towards this is recognizing the international character of the resistance,
calling for a different way of making a critical art, of running
institutions and of doing politics as people translate their aspirations
and practices into a new cycle of struggles.

Therefore, we want to ask what process-based, long term paths can be
followed to bypass the traditional curated exhibition / festival or gallery
representation to allow for more challenging explorations? How do we
navigate artistic practice within the rigid established structures in order
to allow for positive change and growth? Today?s art world is far from
being friendly to cultural workers. Using our own methods, many have
identified successful tactics for navigating the existing system ? although
this system is becoming more and more unable to provide real support for
creative production. How can art workers attain fair compensation without
continuing to feed this broken system? How can they exercise their voices
and power to develop other sustainable platforms and support the creative
field? What experimental approaches to art education have been developed
and are currently practiced? What new ways of unionizing precarious labor
exist and could they be adapted to cultural workers?

We seek contributions that investigate models for communing within the
context of art and education; examples of free schools and cooperatives
based on skills sharing; analyses of economic relations inside the art
academy that lead to precarity and ways to strike against the system of
debt and expendable labor; strategies for undoing the highly competitive,
individualist, market-driven values that the art system often produces and
ways of making room for collective processes; approaches for supporting art
practices that remain disconnected from the art market and maintain an
explicit critical position; ways of establishing new paradigms for
redevelopment that do not displace artists, workers, local residents or
industries but build a sustainable community of working people.

Our second issue of the gazette will begin to map these active agents and
connect peers that have begun constructing in these directions and already
established platforms ? in other words we want to step back and look
closely at what people are already doing/ have achieved and ways in which
to fortify demands and critical structures. Our needs, passions, values and
ideologies maybe diverse, however we consider it important to flesh out
areas or overlap and dissonance, to map existing resistant communities,
other economies and ways of organizing. This issue aims to bring into focus
these various systems rather than create a composite, fixed structure,
which we hope can lead to a different art world with the potential for
collective evolution.

We welcome contributions in a variety of narrative forms, from articles,
commentaries, and glossary entries, to posters, drawings and films. The
deadline for entries is the 31st of March 2013. Contributions should be
delivered in English or as an exemption in any language after negotiations
with the editorial council. The editorial council of Artleaks takes
responsibility of communicating with all authors during the editorial
process.

Please contact us with any questions, comments and submit materials to:
artsleaks@gmail.com.

We will publish all contributions delivered to us in a separate section.
However, we take full responsibility in composing an issue of the gazette
in the way we feel it should be done.

The on-line gazette will be published in English under the Creative Commons
attribution noncommercial-share alike and its materials will be offered for
translation in any languages to any interested parts.

http://art-leaks.org/2013/12/23/open-call-artleaks-gazette-
no-2-deadline-march-31st-2014/


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