common heritage

Common heritage presents various materials in which the language either originates, is related to, or may be referenced to. The materials are individual artworks by artists of different localities. Term related documents, which may be a part of public or personal archives. They may refer to exhibitions, which gave impetous to specific ideas. Oral histories was initially a part of archive-in-becoming, which enabled mapping of the past from the point of view of artists and individuals working at a certain time and in a certain context. At the beginning, the project initiated by curator Andreja Hribernik included interviews with conceptual artists such as Marko Pogačnik, Vlado Martek, Zofija Kulik, and Bálint Szombathy, who either individually or in collaboration with other like-minded artists, left their distinctive marks on the artistic practices in Central and Eastern Europe in the late 1960s and in the 1970s. More about: Oral Histories. A specific quality of oral histories is also the introduction of polyphonic vocabulary used by each individual narrator. It results in redefining terms used in culture, art, and politics, according to specific spatial and time context, defying the notion of universally applicable ideas. Narrators of the glossary of common knowledge provided pieces for this puzzle in the documentation of seminar recordings.

Beyond the conventional usage of the language in contemporary art. Introduction to the Glossary of Common Knowledge (GCK) by curator Bojana Piškur. GCK is curated by Zdenka Badovinac (MG+MSUM), Bojana Piškur (MG+MSUM) and Jesús Carrillo (MNCARS) ... []
type presentation
year of production 2014
courtesy of MG+MSUM
Beyond the conventional usage of the language in contemporary art. Introduction to the Glossary of Common Knowledge (GCK) by curator Bojana Piškur. GCK is curated by Zdenka Badovinac (MG+MSUM), Bojana Piškur (MG+MSUM) and Jesús Carrillo (MNCARS) ... []
type presentation
year of production 2014
courtesy of MG+MSUM, Archive
Beyond the conventional usage of the language in contemporary art. Introduction to the Glossary of Common Knowledge (GCK) by curator Bojana Piškur. GCK is curated by Zdenka Badovinac (MG+MSUM), Bojana Piškur (MG+MSUM) and Jesús Carrillo (MNCARS) ... []
type presentation
year of production 2014
courtesy of MG+MSUM, Archive
Sources map for A Promised Exhibition []
type work on paper
dimensions A3
year of production 2013
courtesy of SALT
[]
type exhibition
dimensions online tag cloud
year of production 2013
courtesy of SALT
Airbrushed silicone sculpture from 'The Agreement' []
type sculpture
year of production 2012
courtesy of Courtesy of the artist and Galerie Chantal Crouse
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type installation
year of production 1989
courtesy of Castello di Rivoli, Turin
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type exhibition
year of production 2011
courtesy of Courtesy Kalfayan Galleries, Athens-Thessaloniki
Under the referential field “Historicization” of the Glossary of Common Knowledge by L’Internationale, SALT suggested the term “intuition,” with the aim of revealing interrelations between research and programs that are unlikely to appear ... []
type
year of production 2014
courtesy of MG+MSUM
[]
type lecture
dimensions 750x450 pixeles
year of production 2014
courtesy of MG+MSUM
History is usually conveyed by text, physical artefacts, photographs, or films. When sound is used as a vehicle of communication it is the recorded sound of an oral tradition in which history is passed down over time through personal or communal narrative []
type presentation
year of production 2014
courtesy of MG+MSUM
Archive has inflated art criticism as an overstressed concept in the last few decades. Nevertheless, within specific institutional or artistic practices, archives do embody particular meanings. Michel Foucault, in the Archaeology of Knowledge (1969), ... []
type presentation
year of production 2014
courtesy of MG+MSUM
Self-historicization refers to any informal system of historicization that is practised by artists who because of the lack of a suitable collective history have had to search for their own historical or interpretive context. ... []
type presentation
year of production 2014
courtesy of MG+MSUM
Península. Colonial processes in art and curatorial practices is a collective research project that questions the narratives of art and culture in the Iberian peninsula, digging in the colonial foundations of its power structures from the past ... []
type presentation
year of production 2014
courtesy of MG+MSUM
The term “heterochronia” tries to address the question of the politics of time (chronopolitics) by looking into the relationships between language (representation, narratives), power, and temporality. ... []
type
year of production 2014
courtesy of MG+MSUM
The term “Contemporary” seems to go against the nature of a glossary, at least as the latter is defined in the Spanish official Dictionary: “a catalog of obscure or unused words”. By definition, the “contemporary” is the opposite of the “obsolete”, ... []
type
year of production 2014
courtesy of MG+MSUM
Within the political-sociological-economical-historical field of the ongoing modernity (1800 to present day) capitalism reveals itself as a timeless, living and constantly changing and adapting, assimilating organism that is in itself a key ... []
type
year of production 2014
courtesy of MG+MSUM
In medical terminology, a pathological fracture is a broken bone caused by a specific disease—osteoporosis, cancer, cysts, genetic syndromes, or the more nebulously defined “frailty syndrome” that afflicts the aging and the geriatric ... []
type
year of production 2014
courtesy of MG+MSUM
What we mean when we say “left” and Yugoslavia are actually the three historical sequences which some political philosophers address as “politics of rupture”; something that was completely different from the established state politics in Yugoslavia ... []
type
year of production 2014
courtesy of MG+MSUM
Strange how many terms spring to mind with respect to historicization (our “first referential field” as you put it). But, then again, historicization is a strange operation, or at least it ought to be made strange, ... []
type
year of production 2014
courtesy of MG+MSUM
The expression “tendencies in art” is typically used to depict artistic currents or trends – in terms of form, subject, style or any other aesthetic dimension. ... []
type
year of production 2014
courtesy of MG+MSUM
Re-entering history is an endeavor that permits us to pursue the past with a blindness that seems virtually impossible to achieve, it is a pursuit of the unknowing grammar of engaging phantoms or ghosts. []
type
year of production 2014
courtesy of MG+MSUM
At Muhka, the Museum of Contemporary Art Antwerp, we have discussed the overall term ‘historicisation’ from what we imagine to be a local point of view. ... []
type
year of production 2014
courtesy of MG+MSUM
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type exhibition
year of production 1941
courtesy of National Museum of Contemporary History
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type photography
dimensions Cromogenic print, 70 x 194 cm
year of production 2007
courtesy of Photo by Alejandro Gómez de Tuddo
Public intervention in Parque de la Exposición []
type performance
dimensions Lima city center, Lima
year of production 2004
courtesy of Photo by Claudia Alva
Fotografías para documento de identidad (ID. Pictures for identification) []
type photography
dimensions Variable dimensions
year of production 2011
courtesy of Photo by Claudia Alva
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type photography
dimensions Lenticular print, 110 x 144 cm
year of production 2009
courtesy of Private collection
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type
dimensions Ready made / object trouvé
year of production 2005
courtesy of Giuseppe Campuzano Archive
Photography and Related Practices 1970s to the present []
type exhibition
year of production 2010
courtesy of Museo Nacional Centro de Arte Reina Sofía in collaboration with the Festival Internacional de Fotografía y Artes Visuales PhotoEspaña 2010
[]
type photography
dimensions Overall: 173 x 180 cm / Each part: 173 x 58 cm; Edition/serial number: 3/5; Gelatin silver print on paper
year of production Santiago de Chile, 1975
courtesy of Museo Nacional Centro de Arte Reina Sofía Collection
[]
type performance
year of production 1980
courtesy of Museo Nacional Centro de Arte Reina Sofía Collection
A Seismic Image of the 1980s in Latin America []
type
year of production 2012
courtesy of Museo Nacional Centro de Arte Reina Sofía and Agencia Española de Cooperación Internacional y Desarrollo (AECID)
[]
type film
year of production 2014
courtesy of Museo Nacional Centro de Arte Reina Sofía
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type photography
dimensions 42 x 59,4 cm
year of production 1982
[]
type work on paper
dimensions various
year of production 2000/2005
A Procession of Photographs of the Nation at War []
type exhibition
year of production 1942
[]
type lecture
year of production Museu de la ruïna, in "Quaderns d'arquitectura i urbanisme", Col·legi d'Arquitectes de Catalunya, Barcelona, 2011: No.: 263, (pages 81-83)
Between late modernism and globalisation: artistic practices during the 80s and 90s []
type exhibition
How shall we sing the Lord’s song in a strange land? []
type exhibition
A possible glossary of the poetic-political practices of the 1980s in Latin America []
type lecture
year of production 14 February 2013, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
[]
type exhibition
[]
type video
year of production 2012, 3-channel video installation
[]
type performance
year of production 2010
Neue Slowenische Kunst – an Event of the Final Decade of Yugoslavia []
type exhibition
year of production 2015
Principle and Organisation of Operation []
type work on paper
year of production 1986
courtesy of Museum of Modern Art plus Museum of Contemporary Art Metelkova, MG+MSUM
[]
type painting
year of production 1971
[]
type sculpture
[]
type lecture
dimensions 1250 x 800 mm
year of production 2015
courtesy of MG+MSUM
The first discussion (in the audio recording above) about the terms (institutional geopolitical strategies, white space, eurasia, catastrophe, global resistance movements, event, agitational visual language) took place on 17 September 2015 ... []
type discussion
year of production 2015
courtesy of MG+MSUM
presentation []
type lecture
dimensions PDF format
year of production 2015
presentation []
type lecture
dimensions PDF format
year of production 2015
presentation []
type lecture
dimensions PDF format
year of production 2015
courtesy of M HKA, Christine Clinckx
[]
type installation
year of production Whitechapel Art Gallery, 1969
Seminar []
type lecture
year of production 2008
[]
type
year of production 2009
courtesy of Moderna galerija / Museum of Modern Art, Ljubljana
[]
type work on paper
year of production 2007
[]
type lecture
dimensions PDF
year of production 2016
The commons are manifested in various ways that encourage, celebrate and protect the right to diversity. They are signified by a decentralized structure, which moves away from ‘traditional’ methods of making artistic statements, protests, ... []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
In the last year, I have been collecting some ideas and observation to present the possibility of progress for contemporary art institution as a way „From the Institutional Critique to the Institutional Therapy“. ... []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
The term is not a part of the usual common(s) vocabulary; it does not stand for a function or a feature, but for an act: I would like to speak about the state of bafflement, and the gesture that is baffling. ... []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
Several times in history, the Balkans were a predictor of the future in Europe: the First World War in a way started on the territory of later Yugoslavia, while the breakup of this multiethnic and multi-religious country heralded the growing nationalism []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
In the early nineties, I studied art in the newly founded Intermedia Department in Hungary. One of our professors, Tamás St.Auby spoke about his utopian theories on the border of traditional spirituality, art, and social change. ... []
type presentation
year of production 29 June 2016
courtesy of MG+MSUM
The artists fighting for the right to share, distribut and experience cultural contents outside the boundaries of local economies, politics, or laws is not limited to the present day. The arguments, which condemn the existing copyright laws ... []
type presentation
year of production 29 June 2016
courtesy of MG+MSUM
“Heterotopian homonymy” designates a reversal in the meaning of key theoretical and political concepts – and, by extension, of the political implications of artworks - due to geopolitical divisions and the traffic of fantasies of the Other ... []
type presentation
year of production 29 June 2016
courtesy of MG+MSUM
Antonio Negri’s conceptualization of the commons as an “artificial” formation that “resides in languages, images, knowledges, affects, codes, habits, and practices” opens a novel perspective on a number of relatable notions, ... []
type lecture
year of production 27 June 2016
courtesy of MG+MSUM
The primordial tension running through the problematics of the common in this historical moment is between two aspects: the proliferation of practices of commoning, that generate other ways of producing, instituting, organizing and creating alternative... []
type presentation
year of production 2016
courtesy of MG+MSUM
In the beginning of June 2016 a violent attack and attempt of eviction of Autonomous Tovarna Rog took place in Ljubljana, the most beautiful capital city in the world. Tovarna Rog, a 10 year old baby of the common, ... []
type presentation
year of production 2016
courtesy of MG+MSUM
t seems the commons differs from the first four referential fields explored by the glossary – historicization, subjectivization, geopolitics and constituencies. The term is propositional whereas the previous terms demarcate broader strategies or areas ... []
type presentation
year of production 2016
courtesy of MG+MSUM
The first discussion about the terms to baffle by Jelena Vesić, institution by Vít Havránek and the brotherhood & unity highway by Zdenka Badovinac. The narrators focused on debating the impact the act of bafflement may have as an expression of commons. []
type discussion
year of production 2016
courtesy of MG+MSUM
In order to discuss the commons today especially in relation to art and culture and speaking from our particular location we must return at least 60 years back, to the 1950s, a period when Yugoslavia broke with the Soviet Union ... []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
In his text “Another Look at the Social Dimension of Indexing”, Michael Corris, member of Art & Language (A & L) group, has discussed the political and social implications of group's practice of indexing. ... []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
On the wall of the Pavillon N in the former Loony Bin of Trieste, a graffiti cries: “LA VERITÀ É RIVOLUZIONARIA” (truth is revolutionary); almost illegible another sentence goes like this: “C'est toujours au nom de la verité que l'on enferme. ... []
type presentation
year of production 28 June 2016
courtesy of MG+MSUM
[]
type discussion
year of production 29 June 2016
courtesy of MG+MSUM
One of the important factors that enabled the dismantling of the welfare state and of the annihilation of its culture, is voiding the notions of the ‘common’ or ‘commune’ (common interests, common good) of meaning, relevance, and punishing practices ... []
type presentation
year of production 29 June 2016
courtesy of MG+MSUM
Information asymmetry was the primary driver of capital and power in the past century. When one side aggregated more or better information than the other, it gained power. Industrial-era players prospered using this circuitry. []
type presentation
year of production 29 June 2016
courtesy of MG+MSUM
[]
type discussion
year of production 29 June 2016
courtesy of MG+MSUM
This term forecasts a future state of being when our planet is enveloped in a communicative web of common thought, a new layer of ‘thinking substance’ that may eventually transform it into a ‘thinking Earth’. []
type presentation
year of production 29 June 2016
courtesy of MG+MSUM
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type
year of production 29 June 2016
courtesy of MG+MSUM
[]
type exhibition
year of production 2015
courtesy of Museo del Barro. Photo: Fernando Allen
[]
type exhibition
year of production 2015
courtesy of Museo del Barro. Photo: Fernando Allen
Museo del Barro []
type
year of production 2015
courtesy of Museo del Barro. Photo: Fernando Allen
Chile Triennal. La Moneda Cultural Centre, Santiago []
type
year of production 2008
courtesy of Chile Triennal
[]
type installation
year of production 2012
courtesy of Museo Nacional Centro de Arte Reina Sofía
[]
type lecture
year of production 2008
courtesy of Museo del Barro, Photo: Rocío Ortega
[]
type lecture
year of production 2012
courtesy of Museo del Barro, Photo: Gabriela Ramos
The question I am posing here is: How can museums participate from their local situations in producing a common imaginary of the world? []
type presentation
year of production 17 September 2015
courtesy of MG+MSUM
Reflecting on Geopolitics by proposing the term ‘event’ linked with a set of philosophical notions that might offer insights into the performative character of the ‘event’, as well as into its interconnection with geography. []
type
year of production 17 September 2015
courtesy of MG+MSUM
The term is utilised to discuss a series of events in Greece. The term is used as an attempt to examine both geopolitical characteristics, as well as common visual elements in the pattern of social movements that have arisen in Greece. []
type presentation
year of production 17 September 2015
courtesy of MG+MSUM
This is the third geopolitical crisis that throws a ball over the Middle East. The first crisis began with the collapse of the Ottoman Empire. The second crisis followed World War II when the European colonial order turned to dust. The third crisis ... []
type presentation
year of production 17 September 2015
courtesy of MG+MSUM
It is quite a challenging task to propose a workable sub-category to the seemingly “outdated” term of geopolitics. Even more, because this term was never genuine part of the life-world of the commons and it's ethical and esthetic layers. []
type presentation
year of production 17 September 2015
courtesy of MG+MSUM
[]
type
dimensions 2424 x 2134 mm
year of production 1980
courtesy of Tate Collection
[]
type sculpture
year of production 2011
courtesy of deconstructivecreation.com
The starting points, NAM from the perspective of cultural politics, the role culture played in the NAM, the importance which was placed in cultural politics and its embedded emancipatory content, the art solidarity networks within the movement ... []
type presentation
year of production 2015
courtesy of MG+MSUM
The word “alignment” doesn’t belong to the common vocabulary of geopolitics. It is rather its negation that more than a half-century ago entered the political stage of the world. []
type presentation
year of production 2015
courtesy of MG+MSUM
Despite many claims to the contrary, postsocialism and postcommunism should not be considered synonymous. Socialism may have been a political philosophy that communist parties in various parts of the world claimed (however inaccurately) to promote. but... []
type presentation
year of production 2015
courtesy of MG+MSUM
The apparent self-evidence notwithstanding, two reasons led me to hesitate before proposing the term “south.” []
type presentation
year of production 2015
courtesy of MG+MSUM
Tudigong plays the role of guardian for the land’s natural environment, animals, plants, as well as humans. []
type presentation
year of production 2015
courtesy of MG+MSUM
The term pandemic is used both at literal and metaphorical level in order to understand a number of subjective and geopolitical processes (for instance, the conception of otherness as a disease and the establishment of an apparent normality ... []
type presentation
year of production 2015
courtesy of MG+MSUM
[]
type discussion
year of production 2015
courtesy of MG+MSUM
[]
type discussion
year of production 2015
courtesy of MG+MSUM
The very notion of 'geopolitics' needs to be contested. It is both too abstract (too much a bird's-eye view, offering too many excuses to ignore the conditions that people on this earth live under) and too concrete ... []
type presentation
year of production 2015
courtesy of MG+MSUM
The treatment of the subject in contemporary art could be said to have been inherited from the avant-garde disagreement with the modernist notion of the autonomous subject. ... []
type presentation
year of production 2014
courtesy of MG+MSUM
[]
type presentation
year of production 2014
courtesy of MG+MSUM
The program of action for operating on contemporary coloniality begins by fragmenting the binary code through which we understand colonial violence in the neoliberal era. []
type presentation
year of production 2014
courtesy of MG+MSUM
The loser is the flip-side of the neo-liberal subjectivity story, the tarnished back of the gold-medal in the all-encompassing race to capitalize upon the self. []
type presentation
year of production 2014
courtesy of MG+MSUM
'Evidence' is my chosen word, after all, it’s the most desirable word when one emerges from a traumatic experience such as conflicts of all kinds, any infliction aimed at harming citizens, our lands or our values related to how we understand freedoms ... []
type presentation
year of production 2014
courtesy of MG+MSUM
Fragility would allows forms of the common that can activate, from below, alliances between the molecular domains and the ecosophies of the social and environmental relations. []
type presentation
year of production 2014
courtesy of MG+MSUM
One of the crucial movements in the art of the 20th century is the one away from making decisions about ‘quality’ based on an idea of subjectivity detached from an assessment of how the individual relates to society. ... []
type presentation
year of production 2014
courtesy of MG+MSUM
Visiting all sort of contemporary exhibitions, one can wonder if art is still able to transcend spectacularization. The conviction that leisure provides clues to safeguard a sensory experience journey represents a skillful method, but what is to be done? []
type presentation
year of production 2014
courtesy of MG+MSUM
Opposing the proposition that we are unable to steer events in the face of higher forces such as nature and religion, thinkers such as Kant propagated that understanding our ability to ‘self-determine’ thoughts, feelings and actions was crucial in ... []
type presentation
year of production 2014
courtesy of MG+MSUM
Radical imagination is a process of “constructing something” and this something has to do with procedures of subjectivization. Radical imagination is not merely about a certain political potential of an artwork or its emancipation from representational... []
type presentation
year of production 2014
courtesy of MG+MSUM
Travesti [transvestite] is a popular word in Latin American that means drag. Usually refers to the person who cross-dresses his body rejecting any natural or essential identity order. []
type presentation
year of production 2014
courtesy of MG+MSUM
Famously, the notion of ‘unrest’ (Unruhe) is at the core of the Hegelian definition of the subject. Hegel refers here to Aristotle, for whom a subject is the one who moves by oneself (Hegel understands this as a work of self-reflection, ... []
type presentation
year of production 2014
courtesy of MG+MSUM
In 20th century philosophy, there are numerous theories, which cover the question of (political) subjectivization or, generally speaking, the process in which an individual becomes a (political) subject. []
type presentation
year of production 2014
courtesy of MG+MSUM
In the absence of narrator Rasha Salti, Nick Aikens kindly read her presentationon on the insurgencies in the Arab world... []
type presentation
year of production 2014
courtesy of MG+MSUM
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type discussion
year of production 2014
courtesy of MG+MSUM
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type discussion
year of production 2014
courtesy of MG+MSUM
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type discussion
year of production 2014
courtesy of MG+MSUM
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type discussion
year of production 2014
courtesy of MG+MSUM
Todas somos Jeanneth. Performance in memoriam of Jeanneth de los Ángeles Beltrán Martínez, who died because of the decree-law excluding migrants from the national healthcare system. A performance of carezenship. July 2014. []
type video
year of production July 2014
[]
type discussion
year of production 2014
courtesy of MG+MSUM
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type discussion
year of production 2014
courtesy of MG+MSUM
Rhodes Must Fall Movement []
type photography
year of production 2015
courtesy of Rhodes Must Fall Movement
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type photography
year of production 2015
courtesy of Rhodes Must Fall Movement
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type photography
year of production 2015
courtesy of Rhodes Must Fall Movement
Some of the progressive socialist cultural policies, museum models and directions as well as their emancipatory utopias, may be linked to today's deliberations on the new prototypes of art institution – “museum of the commons”. []
type work on paper
year of production 1950s, 1960s, 1970s
courtesy of MG+MSUM, Archives department
Cultural institutions are composed by the oftentimes contradictory requirements to be a place of knowledge production (programs), to ensure public relations (visibility and audience numbers), to adhere to financial means (revenue and support), ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
Very often the community is read as a conglomerate of those people that are part of a city, a neighborhood, etc. The work is done “for” the community, as if the people who work or manage a museum are not part of any specific community. ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
In its simplest terms agency can be understood as one’s ability to act. Yet when considering how museums might work with constituencies this ability to act has wider implications: What agency can an institution foster with its set protocols, formats ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
I would suggest the idea of the “Intervenor” as an autonomous outside voice who nonetheless has the right to act within the art institutions. []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
Although South Africa is often lauded for its peaceful transition to democracy, my experience of the late 1980’s and early 1990’s was anything but peaceful. ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
Before asking the question, “when and how, finally, will capitalism end?” or prophesying “the end times” it would be more consistent to explore firstly the capitalism’s stubborn and multiple continuities themselves. ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
Some of the key artists we have collaborated with in building a strong platform for contemporary art over these last two and a half decades, have long been working in the framework of organizations defined as associations or institutes in Slovenia ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
By constituent power we mean not just and not mainly the juridical notion coined during the English and American Revolutions and then coded by Sieyés as pouvoir constituant de la nation. ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
Constituencies are fluid, mutable, protean. They grow, change, adapt, hybridize and reform according to circumstance and need. As such constituencies, as well the status of being constituent, are always in the process of both becoming and unbecoming - ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
In this exploration of the term labour, I will be moving gradually from a notion of constituency in the sense of the collectives we engage with, and from there I will move on to imagine how that engagement implies a challenge that exceeds dialogue, ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
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type discussion
year of production 2016
courtesy of MG+MSUM, LJMU
Sometimes – in fact quite often – terms are coined ‘in action’, to help encapsulate a particular event at a particular point in time. There is a need to say something that is felt to be important, an already existing word is grabbed, and ... []
type
year of production 2016
courtesy of MG+MSUM, LJMU
Perhaps to address the question of constituencies we should be first addressing the current impasse of liberal democracy in its intricate relation to the neoliberal project. ... []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
In the wake of the crisis, not only of the financial processes but also of the political system of representation and of welfare-, the question of constituency interpellates the relation between society and institutions, between social life and governance []
type presentation
year of production 2016
courtesy of MG+MSUM, LJMU
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type discussion
year of production 2016
courtesy of MG+MSUM, LJMU
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type photography
year of production 1977, 2015
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type photography
year of production 1977
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type photography
year of production 1977
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type presentation
year of production 2017
courtesy of MG+MSUM
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type discussion
year of production 17 January 2017
courtesy of MG+MSUM
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type discussion
year of production 17 January 2017
courtesy of MG+MSUM
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type discussion
year of production 17 January 2017
courtesy of MG+MSUM
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type discussion
year of production 18 January 2017
courtesy of MG+MSUM
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type discussion
year of production 18 January 2017
courtesy of MG+MSUM
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type presentation
year of production 17 January 2017
courtesy of MG+MSUM
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type discussion
year of production 18 January 2017
courtesy of MG+MSUM