Summary of projects and submitted material
- 1 Intro
- 2 Projects
- 2.1 AND Publishing – with Rosalie Schweiker and multiple collaborators (2009 – ongoing)
- 2.2 Library of Inclusions and Omissions (2016–ongoing)
- 2.3 The Piracy Project – with Andrea Francke and multiple collaborators (2010–2015)
- 2.4 Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, Valand Academy, University of Gothenburg (2015–2016)
- 2.5 Boxing and Unboxing, Research Residency, MarabouParken Konsthall, Stockholm – with Rosalie Schweiker (April – August 2018)
- 3 Published (Fixed)
- 3.1 Against Immunisation: Boxing as a Technique for Commoning (exhibition, score), in Open Scores - How to program the Commons, Panke Gallery, Berlin, 21 September – 12 October 2019
- 3.2 Micropolitics of Publishing (video interview), 15 September 2018
- 3.3 Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)
- 3.4 More Verb, Less Noun - Publishing as Collective Practice (printed interview)
- 3.5 One publishes to find comrades (book chapter)
- 3.6 UND statt ODER – die Anatomie von UND (interview)
- 3.7 Rethinking where the thinking happens (public interview)
- 3.8 Radical publishing practice requires radical librarianship (twitter thread)
- 3.9 Dear Hannah (pamphlet)
- 3.10 Library Underground – a reading list for a coming community (book chapter)
- 3.11 Library Underground – welcome to my tent (performative reading/video)
- 3.12 We don't want this to become an exhibit (book chapter)
- 3.13 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)
- 3.14 The Impermanent Book, co-authored with Andrea Francke (essay)
- 3.15 Outside the Page, Making Social Realities With Books (chapter)
- 3.16 "Let's Mobilize" Revisited (draft chapter)
- 3.17 Help! David Cameron Likes my Art (book chapter)
- 4 Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)
- 4.1 Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), at We Publish, Kunsthalle Bern, 16-17 January 2020
- 4.2 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, 12 October 2019
- 4.3 Situated Collective Authorship (propositive input)at Authors of The Future: Re-imagining Copyleft Studyday, Constant, Brussels hosted by ISELP (Institut Supérieur pour l’Étude du Langage Plastique) Brussels, 27 September 2019
- 4.4 Library Talks, Rietveld Academy Amsterdam, 24 September 2019
- 4.5 Interfacing the Law (workshop) Constant Brussels & XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres, Rietveld Library (Amsterdam) 9-10 May 2019
- 4.6 Experimental Publishing #1, Critique, Intervention, Speculation (symposium) at Centre for Postdigital Cultures, Postoffice, Coventry University, 11 April 2019
- 4.7 Tools and Infrastructures, Creating Commons (research meeting) at HeK, House of Electronic Arts, Basel 13.-16. September 2018
- 4.8 Writer X, with Eleanor Vonne Brown (workshop) at X Publishing School, Whitechapel Art Gallery London, 8 Sept 2018
- 4.9 Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop) at at Feminist Arts Education, Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University, 2017
- 4.10 Reading Gendered Words (workshop with Rosalie Schweiker)at Library Interventions Leeds College of Art, April 2017
- 4.11 Library Underground (performative reading) at Miss Read , Akademie der Künste Berlin, 2016
- 4.12 Exploiting Justice, Symposium, Centre for Interdisciplinary Gender Research, University of Gothenburg, 2016 (presentation)
- 4.13 What is an Artschool, Chelsea College of Art, London, 2016 (presentation)
- 5 Notes (Summary of Projects and submitted material)
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry. It consists of a string of related practical experiments I carried out during my artistic career between 1998 and 2020. These practices attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. And they experiment with developing different models that facilitate an emancipatory, intersectional, de-colonial feminist knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the topic.
One characteristic of these experiments is that most of them are collaborations. They often developed as responses to specific problems. These greatly differing instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category and loosened definition of knowledge practices.
A pivotal common approach of these experiments is that they don't intend to make works "about politics". Instead, they aim at finding operational models to work counter-politically – through the actual 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 though is that they can all be seen in relation to institutions – with some being commissioned by institutions, others being situated in institutions (with and without an official mandate), and yet a third group operates "exstitutional", 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.
I have structured them in section 2 "Projects". These are the longterm collaborative practices. They are followed by section 3 "Published (Fixed)" listing essays, book chapters, pamphlets, papers that I have published or co-published. Section 4 gives an overview of event-based activities (teaching, workshops, presentations, discussions, think-ins ) that I named 4 "Discursive (Unfixed)".
AND Publishing – with Rosalie Schweiker and multiple collaborators
(2009 – ongoing)
AND is a collaborative publishing activity based in London. Initiated in 2009, it seeks to develop infrastructures of publishing starting 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 mandate , at Byam Shaw School of Art in London as an indy-university press, publishing works of students, staff and alumni in an equitable and non-hierarchical manner. Next to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also explores the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, builds informal support structures by sharing a studio, providing resources and advice, as well as access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes material, which is difficult to find. The members of AND are part of a diverse network of critical, feminist, de-colonial publishing activities and campaigns.
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 shelf. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, 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 undiscovered, 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 Piracy Project – with Andrea Francke and multiple collaborators
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.
Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, Valand Academy, University of Gothenburg
'Let's Mobilize: What is Feminist Pedagogy?' is a long-term collective investigation into intersectional, feminist and de-colonial pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The workgroup was set up by the desire to articulate and create a space for a queer and feminist perspective on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr). Its aim was twofold: Firstly, 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 de-colonial pedagogies. This happened in bi-weekly lunchtime meetings that were open to the whole academy.
Secondly, we worked towards organizing an international conference (mobilization) that fundamentally rethinks how knowledge is produced, transmitted, and disseminated. We were keen to find strategies to adjust the Euro-centric 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.
Boxing and Unboxing, Research Residency, MarabouParken Konsthall, Stockholm – with Rosalie Schweiker
(April – August 2018)
During the five-months research residency at MarabouParken in Stockholm AND Publishing organized together with curator Jenny Richards boxing training for self-defining women, installed an "Unboxing Room" with the boxes of materials they brought from their UK based practice and held three public talks.
MarabouParken Konsthall's evolving strand of research residencies aims to collaborate with artists groups and collectives to support their practice by developing "new lines of inquiry over three months and share these with others through workshop and events. The overarching strand called "Acts of Self-ruin" was based on Leela Gandhi's book "The Common Cause" inviting collectives to explore the struggle for collectivity and equality in an age of individualism.
Against Immunisation: Boxing as a Technique for Commoning (exhibition, score), in Open Scores - How to program the Commons, Panke Gallery, Berlin, 21 September – 12 October 2019
With this score "Against Immunisation: Boxing as a Technique for Commoning," I propose to rethink the concept of the commons in a counterintuitive fashion. If we conceived of boxing not as a concept of masculinity and violence or the survival of the fittest, but as a moment of intense negotiation of border space, contagion, and border linking, then it might serve as a technique to unlearn the building blocks of possessive individualism and the figure of the "proper." Boxing is a moment of "border swerving, border linking and border-spacing" (Ettinger), rendering permeable the borderlines of our "proper" subjects. As a nonverbal, bodily dialogue, it transgresses the very borderlines that we elsewhere seek to protect. During sparring, I deliberately forgo this established immunity – my contours become vulnerable through the mutuality of the touch: My fist touches and is being touched at the same time.
In the exhibition Open Scores - How to program the Commons, curated by Creating Commons (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder)
Micropolitics of Publishing (video interview), 15 September 2018
Cornelia Sollfranck in conversation with Eva Weinmayr. Interview in the context of the research project Creating Commons at the Institute for Contemporary Art Research, Zurich University of the Arts, conducted in cooperation with HeK (House of Electronic Arts Basel) by Felix Stalder, Cornelia Sollfrank and Shusha Niederberger (2017 – 2020).
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 and de-colonial knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) all trying to challenge the close ties between copyright and authorship – although with very different outcomes – I will show how the concept of authorship that is grounded in possessive individualism creates considerable blockages for critical art, education, and collective practice.
Trying to politicize individual authorship and to escape its construction through legal, economic, and institutional frameworks, I discuss 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. From a de-colonial feminist perspective, however, authorship is important. It marks the positionality of the speaking subject and accounts for the –often unacknowledged – eurocentrism of Western philosophy (Gayatry Spivak).
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 conversation with Jinglun Zhu
in "The Netletter," Centre for Curatorial Studies CCS Bard, Annandale/N.Y, 2019
One publishes to find comrades (book chapter)
In Publishing Manifestos, edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. 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)
Annette Gilbert, in conversation with Rosalie Schweiker and Eva Weinmayr (AND Publishing, London) about AND's collective feminist publishing practice that understands publication as a verb (a social process) rather than a noun (the finished object). Annette, Rosalie, and Eva 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 joy such a contextual, contingent, informal, supportive and precarious practice involves. The interview is published in an anthology about contemporary artists' publishing.
In Publish! Publizieren als künstlerische Praxis, Kunstforum International, issue 256, September 2018 (German language).
Rethinking where the thinking happens (public interview)
Public conversation between Eva Weinmayr and Sara Kember, co-founder and director of Goldsmiths Press, London. In this conversation.... xxx
Published online, London AND Publishing  and in print: Let's Mobilize: What is Feminist Pedagogy?, edited by Feminist Pedagogy Working Group (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), Valand Academy, Gothenburg, 2016.
Radical publishing practice requires radical librarianship (twitter thread)
This presentation in the panel "Publishing to Mobilize Knowledge" asks about 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 institutionalize, privilege, or exclude knowledges that don't fit into the established categories.
This presentation was an occasion to experiment with citational practice and sharing bibliographies in a live situation: Using Twitter to live-publish the hyperlinks to references, such as films, images and texts I published my presentation slides live for the audience to revisit on Twitter.
At " Artists as Publishers as Artists", KHM University of Media Arts, Cologne, 6 July 2018. Panel: "Publishing to Mobilize Knowledge" with Clara Balaguer, Yvette Mutumba, Eva Weinmayr. Organized by Agustina Andreoletti, Lilian Haberer, Karin Lingnau, Konstantin Butz.
Dear Hannah (pamphlet)
This short text is written in epistolary form. It reflects on issues of co-option, on collective and community-based work, on 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.
Library Underground – a reading list for a coming community (book chapter)
This chapter, written in the form of a dialogue, presents an informal conversation between Eva Weinmayr and her inner voice about artistic and critical practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from informal distribution strategies like the Whole Earth Catalog to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary activist librarian practices (aaaaarg, Memory of the World, The Piracy Project). Common concerns about the function and value of public libraries and 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 the implicit biases in the organization and classification of knowledge?
Library Underground – welcome to my tent (performative reading/video)
The text has been performed from inside a trekking tent installed at Valand's main lecture hall with a video camera transmitting what happens inside the tent 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, Niclas Östlind, Hasselblad Foundation/Valand Academy, University of Gothenburg, 2016
We don't want this to become an exhibit (book chapter)
This chapter is a revised manuscript of my presentation in the seminar "Socialising Archives" during the symposium "Archives of the Commons II – The Anomic Archive", at Museo Nacional Reina Sofia in Madrid, 2018. Chaired by Mabel Tapia, in this presentation I reflect on the tactics (and their complications) to use the pirated books in the Piracy Project Collection as a starting point for learning and critical reflection (workshops), and policy debate (discussions and debates). Participants in the seminar shared strategies and experiences of practices that turn an archive from a repository into a space of social, intellectual and political encounter.
The chapter is published 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 Red Conceptualismos del Sur, 2019. →Download book (Spanish)
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 lists the vocabulary that has become relevant while working on the Piracy Project. Each of these terms gets explored in the book from different fields of knowledge. It is an ongoing and open-ended reader, which develops as people buy shares in one of its chapters. "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).
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 essay discusses the desire for authoritative and stable book objects. It argues that the technical advances of industrial and commercial printing construct our contemporary idea of books as fixed and immutable objects. The emergence of digital print and print-on-demand, however, changes this perception, since they allow for continuous changes, adaptions, and revisions. The text discusses the assumed unease and fundamental challenge this kind of versioning exerts on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other?
Outside the Page, Making Social Realities With Books (chapter)
[More and better description needed...] This chapter discusses how the format of the publication determines its dissemination and related the modes of reading. The text contrasts Marcel Broodthaers' two-piece work 'Voyage on the North Sea' (1974) with the distribution of poster-size pages of 'Let's Mobilize: What is Feminist Pedagogy Workbook' across the building of Valand Academy.
In The Filmic Page, "On Curating" ZHdK Zürich, forthcoming issue
"Let's Mobilize" Revisited (draft chapter)
This experimental text was co-written by the Feminist Mobilization Working Group. It revisits a text by the same authors, published two years earlier, the "Glossary" in the "Let's Mobilize Workbook". The act of revisiting the original text allowed us to reflect with hindsight on the three-day event and the process of working together. By using the method of layered commenting, we preserved each author's voice instead of streamlining the writing into one voice. Here the collective writing of a text becomes a place for dialogue and disagreements. It builds on experiments of nonlinear writing done by Arno Schmidt ('Zettel's Dream', 1970) and Pierre Bayle ('Historical and Critical Dictionary', 1737).
In Decolonialism after the educational turn, Valand Academy, University of Gothenburg, forthcoming
Help! David Cameron Likes my Art (book chapter)
File:Distributed Open Editions, London 2018 .jpg
The text narrates the course of events and agonies brought about 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 Downing Street.
Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)
Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation),
Moments of Autonomy. Feminist educational practices for the digital commons (think-in)
Situated Collective Authorship (propositive input)
Library Talks, Rietveld Academy Amsterdam, 24 September 2019
For this public talk in the monthly series "Library Talks" at Rietveld Academy in Amsterdam I chose 10 publications with interesting examples of colophones, in order to reflect on the common understanding and attribution of authorship and to investigate and rethink which roles and inputs in the collective production of a publication are acknowledged and credited.
Gerrit Rietveld Academy / Sandberg Institute holds a monthly series of Library Talks. During each talk an invited speaker introduces a list of maximum ten books to the audience that have been important to their practice, and that will be acquired for the occasion by the library. The idea is that the speakers can introduce how their practice has been constructed by the selected books and which different voices their practice consists of.
The selection of books introduces different ways of reading our library collection: through the catalogue system and a custom made library card the library users can trace back these personal selections within the library.
The selection of books also introduces different ways of reading our library collection: through the catalog system and a custom made library card, the library users can trace back these personal selections within the library."
Interfacing the Law (workshop)
Experimental Publishing #1, Critique, Intervention, Speculation (symposium)
Tools and Infrastructures, Creating Commons (research meeting)
Writer X, with Eleanor Vonne Brown (workshop)
Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop)
Reading Gendered Words (workshop with Rosalie Schweiker)
Library Underground (performative reading)
Exploiting Justice, Symposium, Centre for Interdisciplinary Gender Research, University of Gothenburg, 2016 (presentation)
What is an Artschool, Chelsea College of Art, London, 2016 (presentation)
Notes (Summary of Projects and submitted material)
- Support included colleagues's offer to share office and equipment, including publishing classes in their courses inviting AND to develop publishing projects with students, facilitating work-based learning internships with AND. The management quickly realised the critical and socially generative potential of our activity and provided small funds and semi-official support
- AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND. Today it is run by Rosalie Schweiker and Eva Weinmayr.
- OOMK, X Marks the Bökship, Keep it Complex in London
- Invitation email from curator Jenny Richards, 7 August 2017
- MarabouParken website
- Stevphen Shukaitis, 'Toward an Insurrection of the Published? Ten Thoughts on Ticks & Comrades', eicp transversal, June 2014