Autonomy and the Politics of Reproduction in Art

Marina Vishmidt, in connection to a book she was working on with Kerstin Stakemeier, traced a history of the concept of the autonomy of art in capitalist modernity, and the singularities and collectivities that emerge from art’s encounter with the politics of reproduction in the era of the “contemporary”. From Hegel to Federici via Ukeles, it is a condensed and partial history wrought from the shared but not isomorphic commitments of both authors to actualizing Marxism, feminism and critical aesthetic theory for this present.

Kevin DOOLEY (*1983 in Hastings/UK) lives and tries to work in Vienna. His work history includes six years in a supermarket, butchery, teaching, city tours and translating. He has an ever-increasing student debt of £12,500 (as of July 2013). Dooley spends a lot of time in the unemployment office. His work on the project Art Workers Inquiry, Part II: Spectres, part of his first-ever artist-in-residence program, felt like a holiday from unemployment with reduced wages. After visiting a political therapist and a relationship counselor, Dooley decided to be more polygamous and to focus on unionizing as a form of therapeutic empowerment.

Marina Vishmidt, an art theorist, is a London-based writer concerned mainly with questions surrounding art, labor and the value-form. She holds an MA from the Centre for Research in Modern European Philosophy and has just completed a PhD at Queen Mary, University of London on Speculation as a Mode of Production in Art and Capital. Vishmidt contributes to catalogues and has edited collections and journals including Mute, Afterall, Parkett and Texte zur Kunst. She also participates in the group projects Full Unemployment Cinema, Cinenova and Signal:Noise. In 2013 she was writing a book with Kerstin Stakemeier, art theorist, on the politics of autonomy and reproduction in art.


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