{"id":177,"date":"2018-11-27T08:09:28","date_gmt":"2018-11-27T08:09:28","guid":{"rendered":"http:\/\/temporaryart.org\/workawork\/?page_id=177"},"modified":"2019-03-04T18:21:06","modified_gmt":"2019-03-04T18:21:06","slug":"the-meaning-of-work","status":"publish","type":"page","link":"http:\/\/temporaryart.org\/workawork\/?page_id=177","title":{"rendered":"The meaning of work 23\/1 2019"},"content":{"rendered":"
A public workshop at the research week, Royal institute of Art in Stockholm 2018, January 23, 10.00-20.00.\u00a0<\/em><\/span><\/div>\n
\"Frankenstein\"<\/a>
Boris Karloff from The Bride of Frankenstein 1935.<\/figcaption><\/figure>\n

Changing global work relations and digital labor are transforming the way we perform our identities and understand our life worlds. Crowdsourcing, microtasks, sharing economy, and an expanding class of temporary and flexible workers strengthen commodification of relations and create extreme forms of alienation. To develop an understanding of this ongoing transformation of what we know as \u201cwork\u201d, this one day workshop invite artists that problematize ideas and norms about work in different ways, to share and discuss their work.<\/span><\/strong><\/p>\n

\u00a0<\/span>The role of the artist\u2019s work as well as ideas and norms about work and human conditions are common themes in the arts; Questioning production relations or predicting new ones, idealizing a romantic rural past or heading straight on for the future. Artists\u2019 work has counteracted modern work relations since the beginning of industrialism with Mary Shelley novel Frankenstein from 1818 as a starting point. \u00a0From the critique of the arts and crafts movement of alienation and division of labour to the futurist and constructivist movements uncritical acceptance of modernity, industrialism and discipline. Art has been a tool for social critique often connected to social movement and also for making promises of a bright and equal society where nobody lives on someone else’s work. From existential contemplations such as John Cage\u00b4s famous work 4\u201933\u201d, where keeping silence is the work, or On Kawara\u2019s Date Paintings (Rorimer, 1991), to more contemporary reflections on work relations like \u00a0the British artist Tracy Emin, who sold options on her future work for \u00a310 in the early 1990s (Barber, 2001), or Elin Wikstr\u00f6m\u2019s work “How would it look if everyone did it?” in Malm\u00f6 in 1993, consisting of a bed installed in a supermarket where the artist spent three weeks sleeping during the day (\u201cElin Wikstr\u00f6m,\u201d n.d.). A similar comment on the artist as worker is Marina Abramovi\u0107 performance The Artist Is Present (2010), a 736-hour and 30-minute static, silent piece, in which she sat immobile in the exhibition while spectators were invited to take turns sitting opposite her. <\/span><\/div>\n
The list goes on, and the artistic research environment at the Royal Institute of Art has hosted several artists that have problematize aspects of work, such as e.g. Nomeda & Gedimina Urbonas, Petra Bauer, Simon Goldin & Jacob Senneby, Kajsa Dahlgren, Nils Claesson, Karin Hansson, among others. Works that can be seen as a criticism both of the artist’s role as a commodity on a market and a criticism of the consumer society, the exploitation of globalized capitalism, or as a more existential questioning of what we use our working time for and a protest against society’s demands for order and rationality. <\/span><\/div>\n
In this one day workshop the aim is to contribute to this tradition by gathering artworks and artists that expand critical perspectives on work in relation to artistic practices.<\/span><\/div>\n

Schedule<\/span><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
10.00<\/td>\n\u00c5sa Andersson Broms<\/a><\/td>\nIntroduction to workshop and the exhibition Stage-direction<\/em><\/td>\n<\/tr>\n
10.30<\/td>\nKalle Brolin<\/a><\/td>\nI am the Sun – on recuperation of workers’ culture at Swedish coalmines and sugar factories<\/em><\/td>\n<\/tr>\n
10.50<\/td>\nIris Smeds<\/a><\/td>\nThe Actress; The Oracle: The Tragedy<\/em><\/td>\n<\/tr>\n
11.10<\/td>\nShiva Anoushirvani<\/a><\/td>\nViolence, love and work<\/em><\/td>\n<\/tr>\n
11.30<\/td>\npause<\/td>\n<\/td>\n<\/tr>\n
12.00<\/td>\nMarie Gavois<\/a><\/td>\nThe seagulls are singing nasty pop songs<\/em><\/td>\n<\/tr>\n
12.30<\/td>\nNils Claesson<\/a><\/td>\nPresentation of the film program<\/td>\n<\/tr>\n
12.40<\/td>\nLunch<\/td>\n<\/td>\n<\/tr>\n
14.00<\/td>\nJuanma Gonz\u00e1lez<\/a><\/td>\nApostlah\u00e4star p\u00e5 Gotland. A \u2018secular\u2019 pilgrimage as an art-based research method<\/em>.<\/td>\n<\/tr>\n
14.20<\/td>\nAleksei Borisionok, Olia Sosnovskaya, Nicolay Spesivtsev and Dzina Zhuk [Work Hard! Play Hard! working group<\/a>]<\/td>\nFatigue and pharmachoreography<\/em><\/td>\n<\/tr>\n
15.00<\/td>\n\u00c5sa Elieson<\/a><\/td>\nThe performative as art in the post digital era<\/em><\/td>\n<\/tr>\n
15.20<\/td>\npause<\/td>\n<\/td>\n<\/tr>\n
15.40<\/td>\nBogdan Szyber<\/a><\/td>\nFauxthentification \u2013 Academia, its champions and the global digital proletariat<\/td>\n<\/tr>\n
16.00<\/td>\nPer Hasselberg<\/a><\/td>\nWork of the state<\/em><\/td>\n<\/tr>\n
16.20<\/td>\npause<\/td>\n<\/td>\n<\/tr>\n
16.40<\/td>\nAmi Kohara<\/a><\/td>\nWork, tempo and imagination<\/em><\/td>\n<\/tr>\n
17.00<\/td>\nKarin Hansson<\/a><\/td>\nI am not a robot<\/em><\/td>\n<\/tr>\n
17.20<\/td>\nGunnel Petterson<\/a> [from the Smedjan working group]<\/td>\nWhat the hell are you doing here?<\/em><\/td>\n<\/tr>\n
17.40<\/td>\nDinner<\/td>\n<\/td>\n<\/tr>\n
19.00<\/td>\nGeorge Kentros<\/a><\/td>\nThis violin must die<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The event will \u00a0be open to the public. If you want to attend, e-mail\u00a0 Karin.hansson@kkh.se<\/a><\/span><\/em><\/p>\n

References<\/h2>\n

Abramovic, M., Biesenbach, K., & Museum of Modern Art (New York, N. Y. . (2010). <\/span>Marina Abramovi\u0107\u202f: the artist is present<\/span><\/i>. Museum of Modern Art.<\/span><\/p>\n

Barber, L. (2001). Lynn Barber meets Tracey Emin. <\/span>The Observer<\/span><\/i>. Retrieved July 8, 2012, from http:\/\/www.guardian.co.uk\/theobserver\/2001\/apr\/22\/features.magazine27<\/span><\/p>\n

MMP: Elin Wikstr\u00f6m. (n.d.). <\/span>Moderna Museet<\/span><\/i>. Retrieved October 30, 2018, from https:\/\/www.modernamuseet.se\/stockholm\/en\/exhibitions\/mmp-elin-wikstrom\/<\/span><\/p>\n

Rorimer, A. (1991). The Date Paintings of On Kawara. <\/span>Art Institute of Chicago Museum Studies<\/span><\/i>, <\/span>17<\/span><\/i>(2), 120. doi:10.2307\/4101587<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A public workshop at the research week, Royal institute of Art in Stockholm 2018, January 23, 10.00-20.00.\u00a0 Changing global work relations and digital labor are transforming the way we perform our identities and understand our life worlds. Crowdsourcing, microtasks, sharing<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":71,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/177"}],"collection":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=177"}],"version-history":[{"count":22,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/177\/revisions"}],"predecessor-version":[{"id":289,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/177\/revisions\/289"}],"up":[{"embeddable":true,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/71"}],"wp:attachment":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}