Category: work

“Artist-proletarians” are everywhere

““Artist-proletarians” are everywhere – the question is when they will be transformed into a new class which could shape a new emancipatory vision of the future and stop being a simple service-labor army for the hyper bourgeoisie.”

Interview with Dmitry Vilensky (Chto delat?) about postcommunism, autonomy, power of dialectics, Brecht’s methods and their videos: “Perestroika Songspiel: Victory Over the Coup”, “Partisan Songspiel: A Belgrade Story” and “Museum Songspiel: the Netherlands 20XX”.

Barcelona/St.Petersburg, October, 2013

Campanya Tanquem els CIE

La Campanya Tanquem els CIE neix el gener de 2012 arrel de la mort d’Idrissa Diallo, un noi de Guinea Conakry que estava pres al CIE de Barcelona. Els primers membres provenen de diferents organitzacions i col·lectius en defensa dels drets de les persones migrants; ara per ara, però, són nombrosos els activistes a nivell individual que poc a poc s’han anat sumant al grup […]

http://tanquemelscies.blogspot.com.es

“IDENTITIES” Journal Vol 10 / No. 1 – 2

Short Description of current edition
ISSHS is proud to announce the issuing of the 10th volume (No. 1-2) of the Journal for Gender, Politics and Culture “Identities.”

“Identities” vol.10 is available for free download or print on demand.

Contributors:

No1 Guest editor: Marina GRŽINIĆ
Science, Media, Necropolitics and Bastard Trans-feminism(s)

No2 Edited by Katerina KOLOZOVA
Of the Possibility of Immanent Revolt as Theory and Political Praxis

Book reviews of the latest publications by Simon O’Sallivan, Anthony Paul Smith, Clayton Crockett

http://identitiesjournal.edu.mk/

Migration, Sex, History: Africa/Europe

Migration, Sex, History: Africa/Europe.
A Research into Labor, Theory, Activism and Migration from Africa into Europe in the 21st Century.(Why is Africa cursed in Europe?)

FILM by Marina Gržinić/Aina Šmid + Tjaša Kancler (Slovenia, Austria, Spain) (2014)

Let’s say “Each generation necessarily engages in a process of rewriting/reconstituting the past. Film makers have to paint their own landscapes; they must breathe new life into each moment in cinema. That can only be achieved when practitioners have mapped out the field of visual representations and the film techniques they wish to deploy.” – Reece Augiste, Member Black Audio Film Collective (BAFC)

Departing from a tradition in politically engaged art experimental projects, we want to make a film to reflect on Europe and its borders, elaborating different conditions for living and acting. This is coming as an imperative. It is a question of establishing new possibilities for forming a different, but counter, almost bastard, dissident history of Europe, better to say of EU, that is, of migration, empowerment and reflection. Transsexual and defiant. The film strives to produce another history and to delink itself from conventionality of the melodramatic language and narratives presented by official film productions.

Post-Soviet Imaginary and Global Coloniality: a Gendered Perspective

Interview with Madina Tlostanova, www.kronotop.org

When you are the border, when the border cuts through you, when you do not cross borders in order to find yourself on either side, you do not discuss borders from some zero point positionality, but instead you dwell in the border, you do not really have much choice but to be a border thinker. Here Gloria Anzaldua’s dictum is really unmatched: “To survive the Borderlands/ You must live sin fronteras/ Be a crossroads”. Anzaldua calls this painful position “una herida abierta” – an open wound – between the lighter and darker sides of modernity/coloniality. For a Chilean-American playwright and human rights activist Ariel Dorfman it is being a bridge between the North and the South. For British-Caribbean writer Caryl Phillips it is the belonging to the airport as an ideal transit border state of someone whose home is in the Atlantic. For Argentinean diasporic philosopher Maria Lugones it is a journey along other peoples’ worlds with a loving perception which allows the border subject to flexibly and easily switch and juggle different models in her essentially non-aggressive ethical and communicative stance.

As for me, indeed my origins make me a border person more easily than others and being the border and thinking from the border has been my leitmotif both in scholarly works and in fiction. My recent novel “Zalumma Agra” is precisely about border dwellers and thinkers from different countries and époques. For trans-diasporic people like me it is hard to define my own body-politics of knowledge, my local history does not correlate with my native language. I speak the imperial tongue and am ignorant of colonial languages that were supposed to be my native ones, my ethnic composition is discordant with my cultural, ethical and social, as well as religious persuasions. I am a postmodern/postcolonial trickster with decolonial stance, with no land to territorialize in and with an explosive mixture of contradictory values hard to unambiguously taxonomize in any essentialist way.