{"id":3881,"date":"2023-06-02T10:05:45","date_gmt":"2023-06-02T08:05:45","guid":{"rendered":"https:\/\/www.whw.hr\/program\/\/"},"modified":"2023-11-08T18:12:02","modified_gmt":"2023-11-08T17:12:02","slug":"dora-garcia-i-mao-mollona-produkcija-i-reprodukcija-umjetnici-na-radu-ljubav-rad-umjetnost","status":"publish","type":"dogadjanja","link":"https:\/\/www.whw.hr\/%dogadjanja-slug%\/dora-garcia-i-mao-mollona-produkcija-i-reprodukcija-umjetnici-na-radu-ljubav-rad-umjetnost\/","title":{"rendered":" Dora Garc\u00eda and Mao Mollona, Production and reproduction \u2013 artists at work. Love Labour Art Work"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">The event is a \u201cpost-episode\u201d of&nbsp; the project <em>My Sweet little lamb (Everything we see could also be otherwise<\/em>, a series of exhibition episodes based on the <\/span><a href=\"https:\/\/www.kontakt-collection.org\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">Kontakt Collection<\/span><\/a><span style=\"font-weight: 400;\">&nbsp; and dedicated to the artist Mladen Stilinovi\u0107. A new <\/span><a href=\"https:\/\/www.sternberg-press.com\/product\/my-sweet-little-lamb\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">publication<\/span><\/a><span style=\"font-weight: 400;\"> on the project will be available on the occasion.&nbsp;<\/span><\/p>\n<p>\u201cArtists of the world drop out; you have nothing to lose but your profession!\u201d. &nbsp;Echoing <strong>Marx<\/strong> and <strong>Engels<\/strong>\u2019 <em>Communist Manifesto<\/em>, and its vision of revolutionary art as refusal of bourgeois modes of doing and living, in <em>The Education of the Unartist<\/em> (1993) <strong>Allan Kaprow<\/strong> tells young artists to drop art making and embrace life. The central quality of the unartist, according to <strong>Duchamp<\/strong> is their fluidity and \u201cplasmasticity\u201d that is, their ability to shapeshift and resist capture from the commodity form. For both <strong>Duchamp<\/strong> and <strong>Kaprow<\/strong> the unartist is a figure of resistance against speculative capitalism.<\/p>\n<p>In the conversation\/performance <strong>Dora Garc\u00eda<\/strong>&nbsp;and <strong>Mao Mollona<\/strong> sketch a new unartist manifesto, reflecting on the political economy of our times. Following the feminist-Marxist critique of love, art and work as bourgeois constructs, <strong>Garc\u00eda<\/strong>&nbsp;and <strong>Mollona\u2019s<\/strong> manifesto focuses on the entanglement, contradictions, and erasures across the dimensions of production and reproduction, and propose a communist understanding of art, work and love, as autonomous and liberated spaces in which gestures and attachments go to reproduce life in commons.<\/p>\n<p><strong>Garc\u00eda<\/strong> and <strong>Mollona\u2019s<\/strong> conversation is in dialogue with the extraordinary work of Croatian conceptual artist <strong>Mladen Stilinovi\u0107<\/strong>, which critically addresses the transition from socialism to capitalism in Yugoslavian society, through humorous performances and work, which unveiled the surreal quality of state bureaucracy and market ideology in the post-socialist transition. &nbsp;<\/p>\n<p>Yugoslavia\u2019s forced incorporation into the global capitalist economy created much economic decline, social fragmentations, and ethnic tensions, leading to a traumatic conflict, whose consequences are still tangible. <strong>Stilinovi\u0107\u2019s<\/strong> reflection on the role of art in times of geopolitical transition is very timely. How are the relations we can establish between commons and art practice? How can we understand today concepts such as communism and comradeship in all fields, but specifically in art practice? What is the figure of the non-alienated un-artist or the non-alienated worker \u2013 do they look alike? If under capitalism love and work are forms of value extraction\/production, could we imagine a different concept of work and love, as reproduction? How can we degrowth art, embracing a reproductive rather than productive framework \u2013 maintenance rather than use-value\u00b9. How can we transition from a regime of productivity to a regime of creative laziness? Lastly, in<em> In Praise of Laziness<\/em> <strong>Stilinovi\u0107<\/strong> seems to suggest the autonomy of Eastern European artists came from their \u2018invisibility\u2019 and lack of a &nbsp;\u2018developed\u2019 market-driven system of private galleries. If this is true, what kind of institution of commons, neither public nor private, can foster solidarity autonomy and sustainability within the art world?<\/p>\n<p><strong>Dora Garc\u00eda<\/strong> is an artist and teacher who lives and works in Oslo. She is currently professor at Oslo National Academy of the Arts, Norway. &nbsp;As an artist, Dora Garc\u00eda has participated in numerous international art exhibitions, including <em>M\u00fcnster Sculpture Projects<\/em> (2007), <em>Venice Biennial<\/em> (2011, 2013, 2015), <em>Sydney Biennial<\/em> (2008), <em>S\u00e3o Paulo Biennial<\/em> (2010), dOCUMENTA 13 (2012). Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the centre of her film projects, such as <em>The Deviant Majority<\/em> (2010), <em>The Joycean Society<\/em> (2013), <em>Segunda Vez<\/em> (2018), and the <em>Amor Rojo<\/em> trilogy, ongoing.<\/p>\n<p><strong>Massimiliano (Mao) Mollona<\/strong> is an anthropologist, writer and filmmaker based at the Department of the Arts (DAR) at the University of Bologna and specialising on economic and political anthropology and the anthropology of art. His projects focus on extractivism, class and labour struggles, militant cinema, and art\/commons. He is one of the founding members of the Institute of Radical Imagination (IRI) and of the Laboratory for the Urban Commons (Athens).<\/p>\n<p>The conversation\/performance of <strong>Dora<\/strong> <strong>Garc\u00eda<\/strong> and <strong>Mao Mollona<\/strong> takes place in conjunction with the project <em>My Sweet little lamb (Everything we see could also be otherwise<\/em>, a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist <strong>Mladen Stilinovi\u0107,<\/strong> unfolded in Zagreb and London in 2016\u20132017. It was curated by <strong>What, How &amp; for Whom \/ WHW<\/strong> in collaboration with <strong>Kathrin Rhomberg<\/strong> and <strong>Emily Pethick<\/strong> in London.<\/p>\n<p><strong>Dora<\/strong> <strong>Garc\u00eda<\/strong> and<strong> Mao Mollona<\/strong>\u00b4s conversation\/performance is the \u201cpost-episode\u201d of the project, at which the publication will be also available. This publication presents extensive visual documentation of the series of exhibitions alongside newly commissioned texts by theorists and writers <strong>Branislav Dimitrijevi\u0107, Miguel A. L\u00f3pez, Oxana Timofeeva<\/strong>, and <strong>Marina Vishmidt<\/strong>, as well as a conversation on exhibition making with curators E<strong>katerina Degot, Ana Janevski, Emily Pethick<\/strong>, and <strong>Marion von Osten<\/strong>. It was published by Sternberg press in 2023 and designed by <strong>Dejan Kr\u0161i\u0107<\/strong>.<\/p>\n<p>Organized by Kontakt Collection and What, How and for Whom \/ WHW<br \/>\nSupported by Kontakt Collection, ERSTE Foundation and Erste Group Bank AG<\/p>\n<p>\u00b9the notion of useful art reproduces the capitalist sense of temporal urgency, its quantifying logics and protestant morality.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Razgovor\/performans Dore Garcie i Maa Mollone nadovezuje se na projekt Janje moje malo (Sve \u0161to vidimo moglo bi biti i druga\u010dije), niz izlo\u017ebenih epizoda temeljenih na Zbirci Kontakt \u00a0i posve\u0107enih umjetniku Mladenu Stilinovi\u0107u, koje su se odvijale u Zagrebu i Londonu 2016\u20132017.<\/p>\n","protected":false},"author":2,"featured_media":3910,"menu_order":0,"template":"","meta":{"footnotes":""},"categories":[17],"tags":[319,877,879,358,878],"class_list":["post-3881","dogadjanja","type-dogadjanja","status-publish","has-post-thumbnail","hentry","category-ostalo","tag-dejan-krsic","tag-dora-garcia","tag-janje-moje-malo","tag-janje-moje-malo-sve-sto-vidimo-moglo-bi-biti-i-drugacije","tag-mao-mollona"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.14 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Dora Garc\u00eda and Mao Mollona, Production and reproduction \u2013 artists at work. 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