The Series : « Aspects of contemporary art criticism worldwide »
Whether they are articles published at the end of an AICA symposium or produced by Switch (on Paper) following an international call for papers, the texts in this dossier bear witness to the diversity, singularity and permanence of an art critic whose place remains more than ever necessary to grasp the issues at stake in the world, placing artists and culture at the heart of the debate. A partnership that materializes a community of spirit and the active support of Switch (on Paper) for art critics, whose status and future are the subject of in-depth reflection.
The Author : Dejan Vasić
Dejan Vasić is an art critic and independent curator based in Belgrade, Serbia, currently working as a visual arts program curator at the Center for Cultural Decontamination in Belgrade. He is co-editor of Beton (cultural propaganda kit) and an active member of AICA Serbia. In the past, he was a member of Kontekst Collective (2009-2013), the Culture of Memory curatorial platform (2010-2014) and the Four Faces of Omarska Working Group (2010-2015). He is interested in art as a critical and political practice, and the affirmation of critical thinking as a public good. His research and curatorial projects were part of public events and exhibitions (selection): Gathering Around the Wreckage, Oliver Ressler solo exhibition (Cultural Center of Belgrade, 2020); Art as Critics and Politics (CZKD Center 2017-ongoing); Performance, Performativity and Document (SULUV Galery, Museum of Contemporary Art of Vojvodina, 2018); Four Faces of Omarska (Dokufest, Prizren 2014; Forensis, HKW, Berlin 2014; October Salon, Belgrade 2013; Gallery of Contemporary Art, Sarajevo 2013; Urban Festival, Zagreb 2012; Center for research Architecture, Goldsmith University of London, 2012; Museum of Contemporary Art Belgrade, 2010; SpaPort Biennial, Banja Luka, 2010); The Culture of Memory (GPL Contemporary, Vienna 2014; Gallery PM, HDLU Zagreb 2014; Mediterranea 16, Young Artists Biennial, Ancona 2013; Biennial of Visual Arts, Pančevo 2012; Cultural Center, Šabac 2010).
The term Extractive Capitalism refers to the extraction of raw, non-renewable mineral resources (existing predominately in Southern countries). It is inscribed in a globalized exchange market which implies the opening of borders, a facilitated circulation of foreign capital, the privatisation of subsoil, the accumulation of enormous profits by multinationals at the expense of local businesses, the looting, the expropriation, the colonisation of land and common goods. This economy leads to the exhaustion of ressources and causes durable impact on the environment.
The Anthropocene is an early 21st century concept. It designates human intervention on nature, the altering and destructive power exerted over it, enabled since the 18th century by the development of Western industrialisation and the raise of capitalism. The Anthropocene summons up natural and social sciences, notably inquiring into the acceleration of natural resources depletion, the disappearance of biodiversity and demographic pressure.
Looking at the Anthropocene as a concept defining human activity as responsible for the destruction of the environment, Capitalocene (a recently coined term) bases its argument on the internal dynamics of capitalism. It designates more specifically the mode of production, the unlimited nature of capital accumulation, deploying itself on a planet which is, by definition, limited as responsible for environmental disorders and ecosystems degradation.
Against the financialization of the economy, an alternative economy defines itself as a way out from the two largest and most acknowledged economic systems: the market economy and dirigism. Alternative economy is closer to social economy (organized around democracy, freedom and solidarity values), it rejects institutionalization and state supervision. It is the starting point for the development of LETS (Local Exchange Trading Systems).
The anti-globalization movement is opposed to the mondialisation of market economy and to neoliberalism, held accountable for multiple world scale destructions.
Schwarze Pumpe is a power station built in 1997 in the mining area of Spremberg, Germany. It is considered to be the 6th bigger European polluter with 12,4 megatons of CO2.
Publishing Partnership with AICA International
This text by Dejan Vasić is published in partnership with AICA following an international call for participation launched at the end of 2019. Out of some sixty proposals for articles, fourteen have been selected and will be published from 28 August as part of Manifesta 13 Marseille within the programme « Les Parallèles du Sud ».
AICA (International Association of Art Critics) is an NGO founded in 1950 under UNESCO patronage for the purpose of reinforcing worldwide freedom of speech in the area of art criticism and ensure its diversity. Its missions include promoting the discipline in the visual arts by contributing to ensuring sound methodological foundations, protecting the moral and professional interests of art critics by defending the rights of all members equally, ensuring permanent communication among all members by encouraging national and international meetings, improving and facilitating information and international exchanges in the visual arts and contributing to reciprocal knowledge and closer understanding between differing cultures.
Associate publisher, the Emerige Endowment Fund
Emerige: a proactive patron of the arts
In the firm belief that art has the power to change our daily reality, Emerige is a corporate sponsor committed to contemporary creativity by bringing culture closer to everyone, but especially the youngest in society. The Emerige Endowment Fund encourages young French artists via its Emerige Revelations Grant Scheme and its support for arts and culture educational programmes.
As a company devoted to building more beautiful cities for everyone, Emerige also contributes to bringing more art into urban communities by acquiring or commissioning contemporary art pieces under the terms of the 1 Building, 1 Artwork charter.
Parallèles du Sud, Manifesta 13 Marseille
This series of publications published in partnership with AICA International (International Association of Art Critics) is one of the 86 projects labeled “Les Parallèles du Sud”, as part of MANIFESTA 13, which will take place in Marseille from 28 August to 29 November 2020.
Manifesta is the European Nomadic Biennial, which originated in the early 1990s in response to the political, economic, and social change following the end of the Cold War and the subsequent steps towards European integration. Manifesta has developed into a platform for dialogue between art and society by inviting the cultural and artistic community to produce new creative experiences with, and for, the context in which it takes place. Manifesta rethinks the relations between culture and society investigating and catalysing positive social change in Europe through contemporary culture in a continuous dialogue with the social sphere of a specific place.
Manifesta was founded by the Dutch art historian, Hedwig Fijen. Each new edition is fundraised individually and managed by a mix of permanent international team and local specialists. Manifesta is working from its offices in Amsterdam and Marseille.
The entire film Everything’s coming together while everything’s falling apart: COP21
The entire film Everything’s coming together while everything’s falling apart: Ende Gelände:
The entire film Everything’s coming together while everything’s falling apart: The ZAD:
The entire film Everything’s coming together while everything’s falling apart: Code Rood:
Oliver Ressler has started a YouTube channel with his films: