Exploring one of the most influential methods of contemporary cultural production, Self-Organised takes a broad view on the matter. Artists, curators and critics discuss empirical and theoretical approaches from Europe, Africa and South and North America to how self-organisation today oscillates between the self and the group, self-imposed bureaucratisation and flexibilism, aestheticisation and activism. The contributors identify now as a crucial moment to propose ways forward for parallel initiatives and institutions alike: from de-organisation and waiting, to rupture and coexistence of aesthetics and politics. However, what they all seem to share is a refreshing search for critical platforms of citizenship, harnessing self-determination in the wake of neo-liberal mainstreaming and right-wing populism alike. Maria Lind
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Exploring one of the most influential methods of contemporary cultural production, Self-Organised takes a broad view on the matter. Artists, curators and critics discuss empirical and theoretical approaches from Europe, Africa and South and North America to how self-organisation today oscillates between the self and the group, self-imposed bureaucratisation and flexibilism, aestheticisation and activism. The contributors identify now as a crucial moment to propose ways forward for parallel initiatives and institutions alike: from de-organisation and waiting, to rupture and coexistence of aesthetics and politics. However, what they all seem to share is a refreshing search for critical platforms of citizenship, harnessing self-determination in the wake of neo-liberal mainstreaming and right-wing populism alike. Maria Lind
The current economic situation and society s low confidence in its institutions has suddenly demanded that artists become more imaginative in the way that they organise themselves. If labels such as alternative , non-profit and artist-run dominated the self-organised art scene that emerged in the late 1990s, the separatist position implied by the use of these terms has been moderated during the intervening years. This new anthology of accounts from the front line includes contributions by artists, as well as their institutional counterparts, that provide a fascinating account of the art world as matrix of interconnected positions where the balance of power and productivity constantly shifts. --Occasional Table
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