Podcasts about occupy museums

Multimedia artist and activist Imani Jacqueline Brown maps out the long history of extractivism in southern America, constellating 18th century settler colonialism, oil and gas extraction, and contemporary environmental crises. South of the Mississippi River sits the US state of Louisiana, a place transformed from ‘Plantation County' in the 1700s, to an ‘apartheid state', and today, ‘Cancer Alley', for its polluted land and water. Colonial legacies have contributed to contemporary environment problems - including Hurricane Katrina - and continue to shape community planning and housing, a phenomenon known as ‘extractivism'. Artist Imani Jacqueline Brown pushes back against the ‘segregation' of human/nature, and Black humans from humanity, in her multidisciplinary practice. The artist shares how culture is too ‘entangled' with public political action, and her ‘grassroots research' in permit applications awarded to fossil fuel businesses like Texaco (now Chevron) and the Colonial Pipeline Company. The artist describes how she has collaborated to map enslaved peoples' burial grounds, as marked by magnolia trees, highlighting pan-African traditions of ecological regeneration. Drawing on her work with Follow the Oil and Occupy Museums, Brown suggests that culture and capitalism are often closely linked - and the unique power of repackaging these projects in the form of artistic constellations. What Remains at the End of the Earth? (2022) is on view at Dear Earth: Art and Hope in a Time of Crisis, which runs at the Hayward Gallery in London until 3 September 2023, part of the Southbank Centre's Planet Summer. WITH: Imani Jacqueline Brown, artist, activist, writer, and researcher from New Orleans, now based in London. She is a research fellow at Forensic Architecture. ART: ‘What Remains at the End of the Earth?, Imani Jacqueline Brown (2022)'. IMAGE: Installation View. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Moderator: Davonte Bradley These meetups are conducted bi-weekly via Zoom, and are open to all artists included in the Techspressionist Visual Artists Index, located at https://techspressionism.com/artists/ This Salon is an "Old School Open Mic" style format, where artists deliver impromptu presentations, shorter in length than other recent sessions. Verneda Lights Port Royal, South Carolina USA website instagram Born into the Gullahgeechee Nation of the South Carolina Low Country (USA), Verneda Lights is a visual artist/ photographer who is well known for her many Afro-surreal and Afro-futuristic works. Her artworks span from traditional (paintings and drawings on canvas and paper), to digital. As an historian, physician, poet, and science writer, Verneda draws upon the history and sub/conscious imagery of the African diaspora. She creates from the belief that science informs art and art shapes science. In 2017, photo-collages from her “Gullah Me” collection were on display at the 2017 Whitney Biennial, (as part of Occupy Museums' group exhibit), Woman Made Gallery (Chicago, IL), and City Gallery (Charleston, SC). Highlights of 2018 included exhibits at the Hilton Head Town Hall, City Gallery (Charleston, SC), and Albrecht-Kemper Museum of Art (St. Joseph, Missouri). In 2019, the Edward M. Kennedy Institute for the United States Senate commissioned her to create an art chair to honor activist Raffi Freedman-Gurspan. Her chair remains at the Kennedy Institute. From March to April, 2021, her work will be exhibited in “Represent: New Portraiture,” at the Barrett Art Center in Poughkeepsie, NY. Artbit-"The future tense of art" Feature your art, contact giovanna.art.bit@gmail.com Follow Instagram: @artbit_club Disclaimer: Not financial, legal, or accounting advice. For educational purposes only. Join Artbit DAO, meet and connect collectors. https://opensea.io/collection/artbit-dao-club Questions and inquiries: Contact: dubwoman@gmail.com Instagram and Twitter @giovannasun ClubHouse @dubwoman Website: https://linktr.ee/dubwoman

In the final episode with Art After Money author Max Haiven, we talk about: The history of and the current fate of artist collectives, as prompted by a listener’s thoughtful question; Le Freeport, the ultimate art storage facility, a crypt-like structure which Max visited in Singapore, and describes his experience of being there, and subsequently we discuss what a Freeport, a crypt for rich people’s art and antiques, means for the greater world of financialization; the structural violence (systemic violence) committed by the global capitalist elite, and their tendency to morally insulate themselves from their actions, up to and including building escape hatches and bunkers from New Zealand to Mars; Debtfair and Strike Debt, collectives that formed out of Occupy Museums, which itself was spawned through Occupy Wall Street; the art world politics that led to the creation of Art Prize, and how its populist response to the secretive and collusion-oriented market art world has been a problematic response; how Debt Fair, which was included in the 2017 Whitney Biennial, operates by calling out the institutions and sometimes even individuals whom participants are literally indebted to; what the future of debt in the U.S. and beyond looks like, vis-à-vis mainstream political support for eliminating debt; the Commons, as seen in collectives formed during the Occupy movement and also how they manifest in relation to art and the history of art; Max’s call for the abolition of art as borne out of the abolition of prisons, and in asking the question “what if were to abolish art?,” including museums, galleries and other institutions, what would creativity then look like?; and how everyone, not just billionaires, but even artists, create structures of avoidance to carry on with our work and not get into too dark of a place.

Today, capitalism, aka the free market, is linked to trade wars, suffocating student debt, entire countries gone bankrupt, burgeoning virtual currencies and coded security systems. What role can art and artists play in this wildly unbalanced economy? In abandoned bank buildings, failed urban development projects and public squares, we discover artists and their communities in the U.S., Western Europe, South America and Greece, taking on the challenge—as whistle blowers, catalysts, educators, money makers, evangelicals and documentarians.   Featured in this episode: Occupy Museums/Imani Jacqueline Brown, Kenneth Pietrobono, Noah Fisher; Fictilis/Andrea Steves and Timothy Furstnau; Museum des Kapitalismus/Julian and Janosz; Musée du Capitalisme/Samuel Hus and Chloé Villain; La Torre de David/José Luis Blondet, Ángela Bonadies and Juan José Olavarría; Bank Job/Hilary Powell and Dan Edelstyn; Reverend Billy and the Stop Shopping Choir Sound Editor: Anamnesis Audio | Special Sound: Ángela Bonadies and Juan José Olavarría; Bank Job; Reverend Billy and the Stop Shopping Choir; Contributing Producer: Anamnesis Audio for Reverend Billy Segment Related Episodes: Art and the Rising Sea; Art Sparking Social Engagement; Where Art Meets Activism; Art of the Everyday; Occupy Museums on Artists and Debt Related Links: Occupy Museums; Museum of Capitalism: Fictilis; Museum des Kapitalismus; Musée du Capitalisme; Bank Job; Reverend Billy and the Stop Shopping Choir; SITE Santa Fe SITElines: Casa tomada

episode 29: In this episode, I talk with New Orleans-based artist, writer, and cultural organizer Imani Jacqueline Brown. Imani manifests her work in many forms: as a core member of Occupy Museums, co-founder of Blights Out in New Orleans, Director of Programs with Antenna, co-producer of Fossil Free Fest, and as a board member of the Jane Place Neighborhood Sustainability Initiative, a community land trust that built New Orleans's first permanently affordable housing. Throughout her work she consistently interrogates the underlying mechanisms of exploitation and inequity in capitalism while organizing intentional communities of resistance and mutual aid. In our conversation, Imani explains the themes that link her many projects. She also challenges our communities to revoke the fossil fuel industry’s social license to operate and resist extractive industries, whether real estate speculation or oil. We also discuss her ambivalence toward identifying as an artist and whether that identification is useful in the work that she does.

Occupy Museums is the artist collective behind Debtfair, a project in the 2017 Whitney Biennial. In a national call, they invited artists to answer the question: "How does your economic reality affect your art?" Their 30-foot wall installation exposes the complex and obscure financial systems that lie just beneath the surface of the art scene in the United States. 

2011 var året då folkliga uppror spred sig över världen. I Väst var det kapitalismen som fick klä skott för kritiken. I kapitalismen förlovade land USA växte i september förra året den så kallade Occupy Wall Street-rörelsen fram. Den beskyllde de amerikanska bankerna för rovdjurkapitalism och tältlägret i Zuccotti Park bevakades av världspressen. Idag är lägret rivet och demonstranterna har evakuerats, men rörelsen fortsätter ändå med sina aktioner och många menar att de redan påverkat retoriken i presidentvalskampanjen. Kosmos medarbetare Petra Socolovsky har bland annat vart med på en av Occupy Museums manifestationer och ställt frågan hur har USA:s politik och kulturliv påverkats av proteströrelsen. ”Finns det några alternativ till kapitalismen och hur ser de i sådana fall ut?”, frågar sig kulturgeografen David Harvey. Han är av världens 20 mest citerade akademiker inom humaniora, examinerad i Cambridge på 60-talet och numera professor på City University of New York. Harvey är en av vår tids skarpaste kritiker av den nyliberala ekonomiska politiken som han menar kommer ha svårt att lösa den senaste finanskrisen. I höstas kom hans senaste bok Kapitalets gåta och kapitalismens kriser ut på svenska, en genomgång av kaptialismens framväxt och kriser under 1900-talet.  Cecilia Blomberg träffade den engagerade professorn när han besökte Sverige och föreläste inför fullsatta salar. Kyssaktioner för att visa sin ”passion för utbildning”, zombiemarscher till tonerna av Michael Jacksons 1980-talshit Thriller, och joggingturer under dygnets 24 timmar runt presidentpalatset La Moneda i Santiago. Det här är några av de aktioner som skett under det så kallade studentupproret i Chile, som beskrivs som landets största protester sedan demokratin infördes 1990. Avgiftsfri utbildning, ett stopp för vinster i privata utbildningsföretag och ett förstatligande av gymnasieskolan står bland annat på parollerna. Lars Palmgren rapporterar från Chile. Kapitalismen som ekonomisk-politisk modell har nästan blivit globalt allena rådande. Till och med det kommunistiska Kina, som idag har tagit plats högst upp bland världens mäktigaste länder, har anammat kapitalismens principer. Men hur går egentligen kommunismen och kapitalismen ihop och vad tycker kineserna? Göran Sommardahl reder ut det hela. Programledare: Cecilia Blomberg Producent: Marie Liljedahl