Difference between revisions of "4 Summary of projects and submitted material"
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==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)== | ==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)== | ||
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}} | {{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}} | ||
− | [[File:AND Boxing and Unboxing poster lowres.jpg|400px|link=http://wiki.evaweinmayr.com/index.php/Boxing_and_Unboxing|thumb|left|Unboxing, AND Research Residency, | + | [[File:AND Boxing and Unboxing poster lowres.jpg|400px|link=http://wiki.evaweinmayr.com/index.php/Boxing_and_Unboxing|thumb|left|Unboxing, AND Research Residency, Marabouparken konsthall, Stockholm April–August 2018]] |
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter? | Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter? | ||
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Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br> | Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br> | ||
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/> | Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/> | ||
− | →[http://evaweinmayr.com/ | + | →[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]] |
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<br/> | <br/> | ||
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− | In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, Berlin/New York: Sternberg Press, 2016. | + | In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016. |
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− | == We don't want this to | + | == We don't want this to turn into an exhibit (book chapter)== |
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. | [[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. | ||
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia. | Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia. | ||
− | In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Red Conceptualismos del Sur, 2019.<br/><br/> | + | In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/> |
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/> | →[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/> | ||
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]] | →[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]] | ||
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+ | {| class="wikitable" | ||
+ | | | ||
+ | == Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 == | ||
+ | [[File:Publishing as Social Practice poster.jpg|thumb|left|300px|link=]] | ||
+ | Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. | ||
+ | We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. | ||
+ | That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. | ||
+ | Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. | ||
+ | Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms. | ||
+ | Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/> | ||
+ | Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/> <br/> | ||
+ | →[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program] | ||
+ | |||
+ | |} | ||
{| class="wikitable" | {| class="wikitable" |
Revision as of 08:07, 13 October 2020
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above.
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices.
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the practice itself. Hence my artistic concern is not to illustrate a political position, but to actively engage in political experiments in publishing and ecologies of knowledge.
The projects discussed below fall in a wide range of contexts. What they have in common is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", a term coined by Constant, Brussels, indicating a transversal collective working environment that is often inoperable within mainstream institutions. Lastly, most of these experiments are projected long-term. They develop over time to test out various agile approaches. If one approach is not working, it is adapted and applied again from a different angle. That is the reason why the following list is so comprehensive.
Contents
- 1 Projects
- 1.1 AND Publishing – with Rosalie Schweiker and multiple collaborators (2009 – ongoing)
- 1.2 Library of Inclusions and Omissions (2016–ongoing)
- 1.3 The Piracy Project – with Andrea Francke and multiple collaborators (2010–2015)
- 1.4 Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg (2015–16)
- 1.5 Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker (April–August 2018)
- 2 Published (Fixed)
- 2.1 Against Immunization: Boxing as a Technique for Commoning (exhibition, score), at Open Scores – How to Program the Commons, Panke Gallery Berlin, September 21 – October 12, 2019
- 2.2 Micropolitics of Publishing (video interview), September 15, 2018
- 2.3 Boxing and Unboxing (calendar)
- 2.4 Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)
- 2.5 More Verb, Less Noun – Publishing as Collective Practice (printed interview)
- 2.6 One publishes to find comrades (book chapter)
- 2.7 UND statt ODER – die Anatomie von UND (interview)
- 2.8 Rethinking where the thinking happens (public interview)
- 2.9 Radical publishing practice requires radical librarianship (twitter thread)
- 2.10 Dear Hannah (pamphlet)
- 2.11 Let's Mobilize: What is Feminist Pedagogy? workbook
- 2.12 Library Underground – a reading list for a coming community (book chapter)
- 2.13 Library Underground – welcome to my tent (performative reading/video)
- 2.14 We don't want this to turn into an exhibit (book chapter)
- 2.15 Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating, co-edited with Andrea Francke (book)
- 2.16 The Impermanent Book, co-authored with Andrea Francke (essay)
- 2.17 Outside the Page, Making Social Realities With Books (chapter)
- 2.18 Help! David Cameron Likes my Art (book chapter)
- 3 Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)
- 3.1 Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), at We Publish, Kunsthalle Bern. January 16–17, 2020
- 3.2 Situated Collective Publishing: Less Noun, More Verb (presentation) at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019
- 3.3 Moments of Autonomy. Feminist educational practices for the digital commons (think-in), at Open Scores – How to program the Commons, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019
- 3.4 Situated Collective Authorship (propositive input), at Authors of The Future: Re-imagining Copyleft Studyday, Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019
- 3.5 Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019
- 3.6 Interfacing the Law, with Femke Snelting (workshop), at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019
- 3.7 Experimental Publishing #1, Critique, Intervention, Speculation (symposium), at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019
- 3.8 Creating Commons: Tools and Infrastructures (research meeting), at HeK, House of Electronic Arts, Basel. September 13–16, 2018
- 3.9 Writer X, with Eleanor Vonne Brown (workshop), at X Publishing School, Whitechapel Art Gallery London. September 8, 2018
- 3.10 Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop), at Feminist Arts Education, Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017
- 3.11 Reading Gendered Words, with Rosalie Schweiker (workshop), at Library Interventions, Leeds College of Art. April 13, 2017
- 3.12 Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation), at Exploiting Justice, Processes, Performances and Politics, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016
- 3.13 What is an Artschool (presentation), at Chelsea College of Art, London. October 24, 2016
Projects
In the following, I give a brief summary over the five practice projects, each described in more detail on the individual project pages.
AND Publishing – with Rosalie Schweiker and multiple collaborators
(2009 – ongoing)
⟶ see project 1: AND Publishing
AND is a collaborative publishing activity based in London. Initiated in 2009, it seeks to develop infrastructures of publishing departing from three questions: Why publish, how, and for whom? Observing that the existing institutional infrastructures keep replicating the exclusionary mechanisms and hierarchies dominating the university, AND started, without a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.
Library of Inclusions and Omissions
(2016–ongoing)
⟶ see project 2: Library of Inclusions and Omissions
The Library of Inclusions and Omissions (LIO) is a practice-based experiment in critical knowledge infrastructures. Through an open call for contribution, it sets up a reference library that is curated by the community using it. So far, roughly 100 contributions are on the shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and postcolonial materials which are not, or only sparsely available in institutional collections or databases, too flimsy in format or otherwise not validated by publishing houses or institutions such as libraries. Can such a curatorial concept help to give voice to yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors.
The Piracy Project – with Andrea Francke and multiple collaborators
(2010–2015)
⟶ see project 3: The Piracy Project
The Piracy Project started in collaboration with artist Andrea Francke as a reaction to the imminent closure of Byam Shaw School of Art Library in London. Through an open call for pirated books to populate the self-governed art school library and through researching pirate book markets in Peru, China, and Turkey, The Piracy Project gathered a collection of around 150 copied, emulated, appropriated and modified books from across the world. Their copying approaches vary widely, from playful strategies of reproduction, modification, and reinterpretation of existing works to circumventing enclosures such as censorship or market monopolies, to acts of piracy generated by commercial interests. This collection of books serves as the starting point to explore the common understanding of authorship, originality, and the implications policy and legal developments have had on intellectual property and copyright. Through temporary reading rooms, workshops, lectures, discussions, and debates, The Piracy Project explores the philosophical, legal, and social implications of cultural piracy and creative modes of dissemination.
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.
Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg
(2015–16)
⟶ see project 4: Let's Mobilize: What is Feminist Pedagogy?
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: to provide a space to discuss the highs and lows in our own learning and teaching; to study and review university policies and institutional habits; to jointly read relevant texts and set up an online shadow library on feminist intersectional decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy.
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric canon and its exclusions, to question institutional habits and procedures, and to create an understanding of equality that is not blind to difference. The mobilization itself was a practice-based investigation experimenting with non-normative use of the classroom, time and temporalities, languages, and paying attention to the empirical body. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.
Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker
(April–August 2018)
⟶ see project 5: Boxing and Unboxing
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).
Published (Fixed)
Against Immunization: Boxing as a Technique for Commoning (exhibition, score),
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Micropolitics of Publishing (video interview), September 15, 2018In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20). |
Boxing and Unboxing (calendar)A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing.
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Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask how this chapter would circulate in current systems of dissemination, validation, and authorization if I did not assign my name to it – if it went un-authored, so to speak. In Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity, edited by Janis Jefferies and Sarah Kember, Cambridge: Open Book Publishers, 2019. |
More Verb, Less Noun – Publishing as Collective Practice (printed interview)In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials. In CCS Recollection 1: The Netletter, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019 |
One publishes to find comrades (book chapter)Originally published in The Visual Event, an education in appearances, edited by Oliver Klimpel, Leipzig, Spector Books, 2014. |
UND statt ODER – die Anatomie von UND (interview)In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr discuss the multiple roles AND publishing takes on (artist, researcher, educator, curator, collector, librarian, host, organizer, and activist), and reflect on the dilemmas, contradictions and joys such a contextual, contingent, informal, supportive and precarious practice involves.
The interview is published in an anthology about contemporary artists' publishing.
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Rethinking where the thinking happens (public interview)In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London. Published by AND Publishing, London, 2015, republished in Let's Mobilize: What is Feminist Pedagogy?, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. → Read online: AND Publishing, London, 2015 |
Radical publishing practice requires radical librarianship (twitter thread)This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit. Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses the relationship between practices of production, circulation, and consumption of radical, critical, artistic publishing. What are the institutional infrastructures and routines (libraries, archives, bookstores, etc.) of naming and framing, of selecting and cataloging, and how do these routines privilege, or exclude knowledges that don't fit into the established categories?
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Dear Hannah (pamphlet)Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, artistic ambition, and the limits of what is exhibitable in the context of an international art biennale. The text has been circulated as an email letter and printed pamphlet.
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Let's Mobilize: What is Feminist Pedagogy? workbookThis workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan. It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY).
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Library Underground – a reading list for a coming community (book chapter)Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the Whole Earth Catalog to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide access to knowledge "for every member of the community" (ALA, Library Bill of Rights 1939) seem to crop up throughout the conversation: Who is a library for? What kind of materials and topics are missing and how can we deal with the implicit biases in the organization and classification of knowledge?
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Library Underground – welcome to my tent (performative reading/video)This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected onto the lecture hall screen. With Eva Weinmayr as Eva Weinmayr and Rose Borthwick as Inner Voice. Filmed and edited by Camilla Topuntoli. Video 32 min. At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.
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We don't want this to turn into an exhibit (book chapter)Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia. In the book Archivos del Común II: El Archivo Anómico, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019. |
Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating, co-edited with Andrea Francke (book)The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed over time. "This book is not finished. It is the start of a dialogue that will grow as we go along. Normally when you publish a book, it aims to be a resolved object, an endpoint of a process. Not this one. The thing is that there are two of us, and that has become one of the key determinants of how the project evolves. There are always two voices, and that allows us always to be open to different positions. I guess that's what I call a dialogue." (Excerpt from the introduction to the book). The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay. So far, the book contains essays and contributions by Dave Hickey, Eva Hemmungs-Wirtén, Joanne McNeil, Karen Di Franco, Lionel Bently, Prodromos Tsiavos, Sergio Munoz Sarmiento and awaits prospective essays by James Bridle, Stephen Wright and 16 others. Courtroom drawings are by Stephanie Thandiwe Johnstone. |
The Impermanent Book, co-authored with Andrea Francke (essay)The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? In Rhizome.org, 2012 and in Best of Rhizome 2012, edited by Joanne McNeil, Brescia: LINK Editions, 2013 |
Outside the Page, Making Social Realities With Books (chapter)This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' Voyage on the North Sea (1974) and Let's Mobilize: What is Feminist Pedagogy? workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book. Marcel Brodthaers' Voyage on the North Sea (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book. Let's "Mobilize: What is Feminist Pedagogy? workbook, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. In The Filmic Page, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue |
Help! David Cameron Likes my Art (book chapter)This text narrates the course of events triggered by the UK Government Art Collection's acquisition of my artwork "Today's Question" and its subsequent loan to Samantha and David Cameron, then Prime Minister of the UK, for their private residence at 10 Downing Street. In Distributed, edited by David Blamey and Brad Haylock, London: Open Editions, 2018 |
Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)
Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation),
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Situated Collective Publishing: Less Noun, More Verb (presentation)
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Moments of Autonomy. Feminist educational practices for the digital commons (think-in),
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Situated Collective Authorship (propositive input),
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Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection. The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection. Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows:
1) Radical open Access – The Ethics of Care, Disruptive Media Lab, Postoffice Press, Coventry University, 2018;
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Interfacing the Law, with Femke Snelting (workshop),
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Experimental Publishing #1, Critique, Intervention, Speculation (symposium),
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Creating Commons: Tools and Infrastructures (research meeting),
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Writer X, with Eleanor Vonne Brown (workshop),
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Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),
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Reading Gendered Words, with Rosalie Schweiker (workshop),
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Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),
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What is an Artschool (presentation),
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