Nicholas O’Brien wrote: “Andrew Norman Wilson and I had a chance to flesh out some of the strategies that he employs in a webinar video conference that spanned several weeks of intensive workshopping on ideas circulating around digital/ virtual labor, how to stabilize and exist in permanent transience, and how to make actual the metaphoric states that usually occur in online environments. Through our conversation and networking session, we highlighted some key issues concerning how one works within network space can reveal variable points of access and distribution to creative cultural practices.” More here.

[Journal of Journal Performance Studies by Nicholas Knouf] [nettime] Some More Nuanced Thoughts on Publishing, Editing, Reading, Using by Gary Hall:

Keith was asking for references to research on academic journals. In addition to those already mentioned, one piece I’ve found helpful is Ted Striphas’s (2010) ‘Acknowledged Goods: Cultural Studies and the Politics of Academic Journal Publishing’, Communication and Cultural/ Critical Studies, 7 (1), 3-25. There’s an ‘open’ pre-print version here.

I’m singling this piece out in this context because it’s particularly interesting with regard to some Taylor & Francis/ Informa’s geo-political connections. For instance, writing in 2008, Striphas details how: Continue reading

e-flux journal / Sternberg Press presents: Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art — Book launch with Hito Steyerl :: July 19, 2011; 8:30 pm :: Pro qm, Almstadtstr. 48-50, Berlin.

Let’s be clear about something: it is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. When the flexibility, certainty, and freedom promised by being part of a critical outside are revealed as extensions of recent advances in economic exploitation, does the field of art become the uncritical, complicit inside of something far more interesting? Continue reading

The Workers: Precarity, Invisibility, Mobility :: May 29, 2011 - March 15, 2012 :: MASS MoCA, 1040 MASS MoCA WAY, North Adams, Massachusetts.

We all know what Rosie the Riveter looked like, and what she stood for. Ford-era production line labor — and the rise of powerful unions — left us indelible portraits of work in mid 20th century America. Before that, Dickens created searing portraits of labor in the proto-industrial era, as Millet and his followers recorded a vivid picture of agrarian labor in mid 19th century Europe. But what does work look like today in a global economy marked by outsourcing, rapid migration, disruptive economies, and a state of labor that seems fractured, precarious, and almost invisible? Continue reading

The Heard and the Unheard - Soundscape Taiwan: Hong-Kai Wang — Yu-Hsien Su
Curator Amy Cheng :: June 4 - November 27, 2011 :: Taiwan Pavilion at the Venice Biennale, Palazzo delle Prigioni.

The Taipei Fine Arts Museum of Taiwan is pleased to announce that Hong-Kai Wang and Yu-Hsien Su will represent Taiwan at the 54th International Art Exhibition – La Biennale di Venezia. The Taiwan Pavilion, at the Palazzo delle Prigioni, will host a two-part exhibition, The Heard and the Unheard - Soundscape Taiwan, curated by Amy Cheng. Continue reading

e-flux journal: Issue 24: “So why should so many talented and hyper-qualified artists submit themselves willingly to a field of work (that is, in art) that offers so little in return for such an huge amount of unremunerated labor?”

Let’s be clear about something: it is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. And compensation — which is money — is not only for feeding lavish lifestyles or taking spontaneous beach vacations. Ask anyone who has children or sick relatives in a country without good health care — which could now be almost any country as the administration of life is deferred more and more to the private sphere of personal finance. Continue reading

The Precession by Mark Jeffery and Judd Morrissey — An 80 Foot Long Internet Art Performance Poem :: until March 20, 2011 :: Events: Goat Island Dance Film Screening and Talk: February 22; 6:00 - 8:00 pm :: Performances: March 4 & 5, 7:30 pm; March 6, 6:30 pm :: The Jackman Goldwasser Catwalk Gallery, Hyde Park Art Center, 5020 S. Cornell, Chicago, IL.

Inspired by history, astronomy and new media sources, The Precession combines digital images, text and performance art into a monumental exploration of labor and the night sky. The concept was developed after the artists visited the Hoover Dam and saw the Oskar J.W. Hansen sculpture, ‘The Winged Figures of the Republic’ and the celestial floor map that is a part of the public art work. Continue reading

Trafficked Bodies — exhibition for FLEFF 2011, Ithaca, New York :: Call for New Media Art (locative media, tactical media, electronic civil disobedience, experimental coding, radical cartography): Deadline: March 15, 2011.

In collaboration with the Global Alliance Against Traffic in Women (GAATW) based in Bangkok, Thailand, the Finger Lakes Environmental Film Festival (FLEFF) is looking for submissions of digital art for the exhibition Trafficked Bodies in conjunction with the festival theme of Checkpoints for 2011. Continue reading

Frakcija Magazine for Performing Arts, Issue No. 55: Curating Performing Arts:

The concept of the curator has become more and more influential in the performing arts in recent years. But while it has been heavily discussed and theorized within the visual arts, the function of the programmer, producer, curator in the performing arts remains strangely un-debated. Even though programming in dance, theatre and performance has undergone fundamental changes over the last decades there are barely any texts that reflect on its specific role in art production and reception.

This edition of the performing art magazine Frakcija is the first publication fully dedicated to investigating the concept of the curator in performing arts, from its pragmatic limitations, its relations to art and artists up to its conditions within the field of immaterial labour and its role within the system of the art market. Continue reading