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At 81, the Italian designer and architect Gaetano Pesce is one of the world’s greatest living artistic innovators. Best known for his radical embrace of seemingly ordinary, unexpected materials, he has constructed pink buildings from foam, sofas that resemble jester hats, large-scale portraits from hand-poured resin and vases that bend and wobble.

Wool Installation at CASTORINA till end of June 23. Image courtesy of the artist.© Analogia Project

banji-effect

Lisa Anne Auerbach, Cheer for Choice/Keep Abortion Legal, 2009

room-forty-two

Keep Your Rosaries Off My Ovaries

NEW WORLD

There was no such thing as Western civilisation before the European Renaissance. Greece and Rome became part of the narrative of Western civilisation then, not before. With the Renaissance, a double movement began. First, the colonisation of time and the invention of the European Middle Ages. Second – with the emergence of Atlantic trade – the colonisation of space and the invention of New and Old Worlds. This separation, seemingly so natural today, is obviously historical: there could be no Old World without a New one – America. (Later, the Old World would be divided into imperial – Atlantic Europe – and colonial – Asia and Africa.)

A recent proposal to re-inscribe (not to recover or to turn back the clock on) the communal into contemporary debates on pluri-national states is El sistema communal como alternativa al sistema liberal [The Communal System as an Alternative to the Liberal System], by Aymara sociologist Félix Patzi Paco.

The common and the communal: the left and the de-colonial

This is a crucial point, as it highlights the difficulty of equating the communal and the common. The latter is a keyword in the reorientation of the European left today. And that should be no surprise: the idea of ‘the common’ is part of the imaginary of European history. Yet the communal is an-other story: it cannot be easily subsumed by the common, the commune or communism.

The communal is not grounded on the idea of the ‘common’, nor that of the ‘commune’,The communal is something else. It derives from forms of social organisation that existed prior to the Incas and Aztecs, and also from the Incas’ and Aztecs’ experiences of their 500-year relative survival, first under Spanish colonial rule and later under independent nation states. To be done justice, it must be understood not as a leftwing project (in the European sense), but as a de-colonial one.

So what, then, is the ayllu? It is a kind of extended familial community, with a common (real or imaginary) ascendancy that collectively works a common territory. It is something akin to the Greek oikos, which provides the etymological root for ‘economy’. Each ayllu is defined by a territory that includes not just a piece of land, but the eco-system of which that land is one component. The territory is not private property. It is not property at all, but the home for all of those living in and from it. Remember: here, we are not in a capitalist economic organisation

Moreover, the notion of ‘property’ is meaningless in a vision of society in which the goal is working to live and not living to work. It is in this context that Evo Morales has been promoting the concept of ‘the good living’ (sumaj kamaña in Quechua, sumak kawsay in Quichua, allin kausaw in Aymara or buen vivir in Spanish). ‘The good living’ – or ‘to live in harmony’ – is an alternative to ‘development’. While development puts life at the service of growth and accumulation, buen vivir places life first, with institutions at the service of life. That is what ‘living in harmony’ (and not in competition) means.

W. Mignolo

http://www.turbulence.org.uk/turbulence-5/decolonial/

XENOFEMINISMO

http://lab.cccb.org/es/helen-hester-la-biologia-no-determina-el-destino-se-puede-modificar-tecnologicamente/

http://lab.cccb.org/es/narratopias-de-futuro-el-agotamiento-de-lo-posible/

http://biononymous.me/diy-guides/

https://theinfluencers.org/heather-dewey-hagborg

http://lab.cccb.org/es/elogio-de-la-brevedad/

Microvídeos El Pressentiment

NUESTRA VIOLENCIA

Fragmento de la video instalación "Ever is Over All" de Pipilotti Rist (1997) Música: "I'm a victim of this song (wicked game)" - Pipilotti Rist

ELIPSIS

en lingüística, a la elipsis, la supresión de algún elemento del discurso (utilizada en el lenguaje general) que no llega a contradecir las reglas gramaticales; en particular, a la elipsis, una figura retórica utilizada en la literatura que consiste en la supresión de algún término de la oración.

en el cine, a la elipsis, la supresión del tiempo innecesario en la narración de una historia.