manifesto

https://laborartreview.net/mouffe-review-graphic/  

https://hyperallergic.com/744940/reflecting-on-nationalism-at-the-venice-biennale/

I used to think that to be relevant as an artist was to participate in the logic of the market, but that changed in 2011…This visual reflection was published in Hyperallergic on the 10th anniversary of Occupy Wall Street.All original images are pen a …

Continue reading “Thinking About Art on the 10th Anniversary of Occupy Wall Street”

https://hyperallergic.com/615843/why-the-art-world-needs-populism/

A small table set with an empty pie tin and a can of Reddi-wip. Fischer walks onto stage with a theater seat strapped to his body like a shield. Hello! We caught each other at a strange moment, not a particularly safe moment, especially for an activist. My name is Noah Fischer: I am an activist, or at least I was, before this moment. But I got myself all freaked out about the potential violence of the Left. And that’s what I’m working with now. So I’d like to get you freaked out too.

https://www.artnews.com/art-in-america/features/art-world-key-terms-2010s-1202673541/4/?fbclid=IwAR1EVndLpVcxFZsAlS0X3IVknHwC83prRa7OY2l2xnYvIIu9uFwn72cskWI

September 17, 2011, a talking coin circulated through the New York streets of Occupy Wall Street blending outrage and humor to proclaim broken trust in capitalism. In the utopian urban camp, the talking coin met an activist from the 1970’s known for throwing pies in the face of the powerful. Noah Fischer, the talking coin of 2011, speculates on methods beyond the violence of pies for confronting dystopia head on.

This essay published in Out of Place: Artists, Pedagogy, and Purpose, edited by Tim Doud and Zoë Charlton. Art is not a practical career and people generally know this. One who takes it up ought to eventually make peace with this fact but that’s not me …

Continue reading “Personal Essay: Art and the Shame Economy”

https://publicseminar.org/2019/04/artist-as-debtor-debt-as-creator/ This article is part of a series of texts published on Public Seminar in the lead-up to the Digital/Debt/Empire symposium in Vancouver in late April 2019, convened by Benjamin Anderson, Enda Brophy and Max Haiven.

The bronze public monuments built to cut through time as Shackleton’s Endurance was built to cut through arctic ice are arriving in our present moment as anachronistic vessels. Whether appropriate or not, they refuse to budge from public space.

I can’t forget the puzzling silence of Mark di Suvero…(read full essay in pdf)

Pulished in Hyperallergic:  

The School of Everything is a project of longtime collaborator Joulia Strauss. Curator of the Symposion is Sotirios Bahtsetzis. Its a platform organized by AthenSYN in documenta 14 Kassel”We build an educational system which consists of politically motivated and artistic initiatives for sharing knowledge, and of proposals by thinkers who see education as decisive for social change.”

Alexander Karschnia: It always begins on January, 20th: „20. Jänner“, it’s more than a date, it’s a quote, a code-word for freaks of German literature. The best text begins like this: „Am 20. Jänner ging Lenz durchs Gebirg’“. On Jan. 20th Lenz crossed …

Continue reading “The Year 2017: A Collective Chronicle of Thoughts and Observations”

Read on Hyperallergic

A People’s Monument to Anti-Displacement Organizing by BETTY YU AND NOAH FISCHER

http://field-journal.com/issue-2/fischer Part 1: Introduction

Translated into Italian and Included as “The Artist as Debtor” in EXPLOIT,edited by Giorgio de Finis, Fabio Benincasa, and Andrea Facchi.

Imagine that you are in your studio, or at the desk of the office where you work, or in the classroom where you study. You are temporarily lost in thought about your creative process, thinking about what you will work on next, trying to make something of value. But how do you settle on a system that constitutes quality? How do you reconcile your own vision with the jury of institutional gatekeepers who curate artistic quality and keep score on your art practice?

Artleaks Gazette, the yearly magazine of the international art organizing site Artleaks has published an essay which finds new connections in my artistic/poltical practice of the last years from Occupy Museums through GULF. Comments on the 7th Berlin Biennale by Artur Zmijewski.  You can read the Gazette here PDF of article here

Each time the Guggenheim speaks, its approach to migrant labour issues on Saadiyat Island sounds more like that of a global corporation than that of an educational or art institution. We would like to remind the Guggenheim that it’s a museum, with a mission to “explore ideas across cultures through dynamic curatorial and educational initiatives.” Museums should help the public come to a greater understanding of the global complexities we all face.

Occupywallst.net

http://artfcity.com/2013/06/07/where-is-occupy-now/ Where is Occupy Now?June 1, 2013.  Answer:Turkey.

This came just came out in February issue of Brooklyn Rail, guest edited by Martha Schwendener.  http://www.brooklynrail.org/2013/02/artseen/lotus-petals

During the Truth is Concrete Festival (Steirischer Herbst) a group of artist activist organized a group within the group called “Action is Concrete” in collaboration with local activists from Graz to experiment with mobilized  political vitality.   The press release from Sept 25, 22 p.m. announced: “Tomorrow 26 September 2012, a jolly group of local and international artists and cultural workers will take to the streets of the capital of the Styria, Graz! They will visit local points of interest where global and local conflicts merge into one.

  http://www.berlinbiennale.de/blog/en/allgemein-en/an-open-letter-to-occupybiennale-31367

 Note: this text was written by consensus by the Occupy Museums group, and represents an update of the original manifesto of October 20th, 2011.

http://paddyjohnson.tumblr.com/post/11652516894/occupy-museums-speaking-out-in-front-of-the-cannons