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The Piracy Reading Room at the New York Art Book Fair, MoMA PS1, 2011
One day, everything will be free…
SALT Online + SALT Galata + SALT Beyoglu, Istanbul
At first, it sounds like a utopian promise; on second thought,
we realize there couldn't be anything more terrifying.
The seemingly indispensable tools we use daily for social networking and online communication —even non-commercial cultural production and collective organization aimed at challenging authoritarian regimes—are all increasingly provided to us for free. In fact, many of the largest
and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that eventually, for someone, somewhere, everything will one day be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.
Critical engagement with gift economies, longtails, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. Piracy has been put to work; copy culture is the norm; crowdsourcing is the new outsourcing—everywhere is elsewhere.
If any of us can now publish a book, edit the most popular encyclopedia, make and critique art online, or become an established musician without even buying an instrument or ever playing a live performance, what do these new economic structures mean for the cultural institution and for ‘professional’ cultural producers? What is the relationship between the commons and representations of surplus? How has piracy been used to critically subvert power structures and encourage the dissemination of knowledge? What is really at work behind the rhetoric of Free Culture and Creative Commons, and how are artists and cultural producers responding to these developments? But perhaps we can start with a question a little closer to home: SALT is free, but at what or who’s cost? “One day, everything will be free” is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being a bank-supported initiative which will be hosting the Ottoman Bank Archives in its Galata venue (formally the Ottoman Bank). In order to encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors.
Aiming to learn from and point toward the range of projects and proposals that have already set this line of inquiry into motion, this project began and will continue through a series of conversations with a diverse group of collaborators who are already doing work in and
around this topic. Initial conversations with Ismail Erturk, Goldin+Senneby, Regine Basha, Celine Condorelli, Annika Eriksson, Burak Delier, Katya Sander, Elmas Deniz, and Carey Young shaped the structure for the research project—several of these conversations have been transcribed and published on SALTonline.com—and throughout 2012, these and other collaborators will be invited to give lectures or presentations within this framework.
Caleb Waldorf, Laurel Ptak, Ozgur Uckan, Eva Weinmayr, and Matteo Pasquinelli have been invited to give lectures and research presentations for a program titled FUTURES AND OPTIONS, scheduled for the weekend of March 17th. These presentations will allow for a
consideration of research already setting this inquiry into motion, but this will also provide the setting to invite the range of responses that will carry this program forward.
In collaboration with Premsela, the Netherlands Institute for Fashion and Design, the COPY/CULTURE symposium will be hosted at SALT Galata on April 28th. Artists, lawyers, activists, architects, and designerswill be invited to consider issues of ownership, authenticity, and the limits of creative interpretation.
Situated within the interstitial spaces of SALT, and completely dispersed throughout the calendar, a series of projects organized under the title “One day, everything will be free” will continue to look at the varied and conflicting implications of “free” economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between public audiences and the cultural institution.
Cult of the Difficult, 11 May - 3 June 2011
Cass Gallery, 42 Commercial Road, London
Jeremy Deller, Langlands and Bell, Cathrin Bertola, Lothar Goetz, Andrew Grassie
curated by Habda Rashid and Susanna Bianchinia, a collaboration between Metropolitan University, Whitechapel Art Gallery and Government Art Collection
(pause) 21 scenes concerning the silence of Art in Ruins
8 December 2010 7–9pm
The Showroom
63 Penfold Street, London NW8 8PQ
Tel: +44 (0)20 7724 4300
The Showroom, London invites you to join Eva Weinmayr for an evening of performative readings of her book (pause). With readings by Eleanor Vonne Brown, Francesco Pedraglio, Sara de Bondt, Neil Chapman, Anja Kirschner, Douglas Park, Fatos Ustek, Emanuel von Baeyer, Antony Hudek, Stewart Home, Emma Edmondson, Hilary Koob-Sassen, John Moseley, Magda Fabianczyk, Mary George, Caterina Riva, Wayne Daly, Clive Phillpot and Pieternel Vermoortel.
Weinmayr's latest publication is part of a series of interventions around the (temporary?) disappearance of the English art collective Art in Ruins from the art world.
This book launch is the first in the UK following others at Zacheta National Art Gallery Warsaw, KW Institute for Contemporary Art Berlin and MoMA PS1 Queens
(pause)
Weinmayr's latest publication (pause) 21 scenes concerning the silence of Art in Ruins is part of a series of interventions around the temporary disappearance of the Englsih artcollective Art in Ruins.
Why did Art in Ruins, a once prominent art collective, suddenly fall off the art world map? Did they run out of ideas, move on to other territories or simply withdraw in disgust? Using verbatim dialogue lines from interviews with art professionals who knew Art in Ruins, Eva Weinmayr constructs a hypothetical play as an anti-documentary or anti-biography.210 x 297 mm, b/w, 72 pages
ISBN 978-0-9562605-4-3
order: occasionalpapers.org
Funded by Arts Council England and Central Saint Martins College of Art and Design
I Wonder What the Silence Was About, 28 June - 29 August 2010
Zacheta, National Art Gallery Warsaw
installation shots marek krzyzanek (C) review in Dziennik
I Wonder What The Silence Was About is a body of work speculating on the (temporary?) disappearance of Art in Ruins. Formed in 1984 by Hannah Vowles and Glyn Banks, this English collaborative art practice was active in the London/Berlin art scene. After a distinct political and artistic practice they fell silent in 2001.
Their silence is booming and makes their critique not even more powerful but open to speculation, leading me to talk to numerous people, who worked with the two artists in the past. These interviews form the basis of a series of short films and a hypothetical play.
with Ed Baxter, Resonance FM, London / Vera Büchlmann, artist, Munich / Emma Dexter, Timothy Taylor Gallery, London / Stephen Foster, John Hansard Gallery, Southampton / Rene Gimpel, Gimpel Fils Gallery, London / Justin Hoffmann, Kunstverein Wolfsburg / Michael Hofstetter, artist, Munich / Stewart Home, artist, London / Robin Klassnik, Matt's Gallery, London / James Lingwood, Artangel, London / Douglas Park, artist, London / Jane Rolo, Book Works, London / Heinz Schütz, critic, Munich / Stefan Szczelkun, artist, London / Christoph Tannert, Künstlerhaus Bethanien, Berlin / David Thorp, curator, London / Ingeborg Wiensowski, critic, Berlin / Thomas Wulffen, curator, Berlin
Downs, 2009, HD video, 1:00 min, colour, sound, single screen projection, anti-vandalism paint on paper, installation view in the exhibition:
A Work A Day, 22 July 2009, MOT International London
THE NEWPAPER at Publish and Be Damned archive at Ludlow 38, New York, 2008
http://www.publishandbedamned.org.uk/
THE NEWPAPER, first edition, edited by Eleanor Brown
"Eva Weinmayr", The Front Room, Contemporary Art Museum St Louis, 2008
First Sketch: Rumour as Communicative Sculpture, London, February 2008
Celebrity Death Match : BORIS versus KEN
Itchypark V, curated by Eleanor Brown, Emily Wardill, Limehouse Townhall, 2008
Frozen Waves - new work for Yama
Babak Ghazi, Mustafa Hulusi, Paul Snowden, Mark Ttchner, Eva Weinmayr
curated by Michelle Cotton and Sylvia Kouvali
6 Sept 2007 – 4 Nov 2007
WE ARE RACING TO GOD ALIGNING WITH THE SHIPWRECKS BY THE BLUE GALAXIES. (WELL, WELL, DO NOT EXAGGERATE!), 2007
4’13” video, colour, silent
directed by Sylke Rene Meyer
“The captain addresses the crew, which is longing to come home. She is anxiously trying to get a message across. It’s night-time. Stormy weather. No terrestrial channels, but digital waves, a public service announcement to all travellers – nous sommes embarquès at the blue bus. The message cannot be heard. What is the content? What is spoken? No further information is provided. The message board is about to blow… up. Once in a while the captain comes through hurtling down 400 ft to certain death and wonders: What does it all mean?”
Eva Weinmayr, a public reading of "He Said Yes, He Said No" by Bertolt Brecht at Junction Cafe, London N19, Thursday 15th Nov 2007
Document: Scoop: the man ate the ticketman (1013 kb)
Love Your Voice / recording studio at Matt's Gallery, London 2006
scoop No 3: The Man Ate The Ticket Man
African Boy
Invite for booklaunch of "Suitcase Body Is Missing Woman", 15 Decemer 2005, Book Works, London
Douglas Park and Diana Stone reading "VOICE PIECE" by Eva Weinmayr at the launch of "Suitcase Body Is Missing Woman" Book Works December 2005
Document: Douglas&Diana (894 kb)