#marina vishmidt

[endlessandrea]

"For Marina, infrastructural critique begins with the tradition within conceptual art of institutional critique where the artist takes the art institution as the object of their artwork. Marina is very interested in that history but she felt that it had become stale and that it wasn't really adequate to our political and historical circumstances. The idea of infrastructural critique is that the artist or other people in the institution begin to think about what the infrastructural conditions of the institution are. Whether that means buildings, or money, or the labour required to reproduce the institution. And they think about how those conditions can be changed, disregarding the boundaries between the inside of the institution and the outside. So, in that sense, you could say that an infrastructural critique is a kind of disloyal institutional critique. It's disloyal to the institution and its own imperative to reproduce itself. It thinks about what conditions, what infrastructures the institution provides us for our goals, whatever those might be."

– Danny Hayward about the joint project of studying and synthesising Marina Vishmidt's writing and thought on Infrastructural Critique

[xjmlm]

The ontologisation of vulnerability in the contemporary political idiom of ‘bodies’ . . . points to an abiding tendency in critical theory to . . . mimetically adopt current forms of domination as the only conceivable forms in which emancipation can be imagined. In a very real sense, this expresses the overdetermination of emancipatory politics by such forms of domination, and the mimetic response to them that emerges for reasons of pragmatism as well as reasons of conviction. However, a close attention to how such forms get overdetermined, which is to say, how bodies are produced by means that further the ends of capitalist accumulation and population management, opens up an area which not only promises to undermine the ‘abstraction-phobia’ and thus the genres of liberalism that liberation politics today remain open to, but to get a handle on what other bodies are possible if these are seen as the consequence, rather than the precondition, of a socially and historically mediated mode of production. This, in turn, may be capable of redefining the political salience of experience as something collective, intractable and principally indeterminate rather than self-asserting, self-owning and claim-making.

While only being able to gesture to the field in which the question should be located, . . the discourse of ‘bodies’, with its burden of naturalisation and proprietorial integrity, can be seen to form a hindrance to discovering what the political implications of that negation might be.

Marina Vishmidt, "Bodies in space: On the ends of vulnerability"

[fundgruber]

“Voiceover: The job interview is an exercise which is basically intended as a means to allow theemployer to gauge the character of a prospective employee. Since the employee enters thetransaction as abstract labour which, as it were,is ‘treated as abstract prior to the exchange precisely because it is treated as abstract in exchange’, this is a way for both contracting parties to get to know each other as people, or what some call ‘living singularities’. It is also a prime opportunity for wage bargaining, which is not to say there aren’t even better opportunities, like chats over coffee, flowers with telegrams, phone calls that start out in the guise of market research, or spam emails, to mention just a few. The only danger is that these situations can get too personal, and people can and do gethurt. Or they might feel awkward in indefinable ways for indefinite stretches of time afterwards. Because you can literally pay anyone to do anything, the ones who are not chosen never stop wondering why.”

Marina Vishmidt: Untitled, Job Interviews. 2017

https://www.academia.edu/38307206/Untitled

[her-moth]

‘That Language Matters’

tonight at 6.30pm 

[endlessandrea]

"I'm thinking of the anxiety of many public art institutions, i.e., most art institutions in Europe, though not in the rest of the world, seem to revolve around evoking, cajoling, or projecting this idea of a "public", of becoming a substitute site for some kind of collective dimension which is supposedly gone from everyday social experience, and the differences between utopia and management, between situation and spectacle, get increasingly blurred, especially in managerial concepts like "participation". It's a laboratory where social relations are tried out, but it's also a depressing little room where nothing happens, even if it's the size of the Tate Modern." – Marina Vishmidt

[endlessandrea]

Marina Vishmidt’s letter, in response to Biinna Choi’s request, offers advice and guidance for the long-term project Grand Domestic Revoluti

Marina is giving!!!

[fundgruber]

Die spekulative Form des Wertes fungiert als Schlüssel sowohl zur Grenzenlosigkeit des Kapitals als sich selbst ausdehnender Wert als auch zur unendlichen Kreativität künstlerischer Subjektivität.

Marina Vishmidt, Spekulative Sachen, 2012

[endlessandrea]

Marina Vishmidt:

"abolition (a determinate negation not only of a harmful institution, or practice, but of all the ways of accommodating it that have become socially habitual while placing other possibilities into reality)"