94 International Meeting of the Precariat (Berlin, January 2005), http://www.globalproject.info/ <strong>art</strong>-3264.html Molleindustria, http://www.molleindustria.it/ multitudes, http://multitudes.samizdat.net/rubrique.php3?id_rubrique=458 Mute Magazine, http://www.metamute.org/en/node/415 Organizing the Unorganizables, (dir. Florian Schneider, 2004), http://kein.tv/ Precarias a Deriva, http://www.sindominio.net/karakola/precarias.htm republic<strong>art</strong>, http://www.republic<strong>art</strong>.net/disc/precariat/index.htm Precair Forum (Amsterdam, February 2005), http://precairforum.nl/ENG/index.html Precarity Ping Pong (London, October 2004), http://greenpeppermagazine.org/pingPong.html San Precario, http://www.sanprecario.info/ REFERENCES: Bridget Anderson, Doing the Dirty Work: The Global Politics of Domestic Labour, Zed Books, London, 2000. Giovanni Arrighi, ‘Hegemony Unravelling, P<strong>art</strong> 1’, New Left Review 32, pp 23-80, 2005a. ______. ‘Hegemony Unravelling, P<strong>art</strong> 2’, New Left Review 33, pp 81-116, 2005b. Arianna Bove, Erik Empson,Geert Lovink, Florian Schneider, Soenke Zehle, eds., Makeworlds Paper#3, 11 September 2003, http://www.makeworlds.org/node/2. Judith Butler, Precarious Life: The Powers of Mourning and Violence, Verso, New York, 2004. Melinda Cooper, ‘On the Brink: From Mutual Deterrence to Uncontrollable War’, Contretemps 4, pp 2-18, September 2004. Gilles Deleuze, Foucault, trans. Seán Hand, forw. Paul Bové, University of Minnesota Press, Minneapolis,1988. Alex Foti, ‘Precarity and N/european Identity. Interview with Merjin Oudenampsen and Gavin Sullivan’, Greenpepper, 2004. Chris Gibson, and Daniel Robinson, ‘Creative Networks in Regional Australia’, Media International Australia incorporating Culture and Policy 112, pp 83-100, 2004. Rosalind Gill, ‘Cool, Creative and Egalitarian? Exploring Gender in Project-based New Media Work’, Information, Communication & Society 5.1, pp 70-89, 2002. Michael Hardt and Antonio Negri, Empire, Harvard University Press, Cambridge, MA, 2000. ______. Multitude: War and Democracy in the Age of Empire, Penguin, New York, 2004. David Harvey, The New Imperialism, Oxford University Press, New York, 2003. David Hesmondhalgh and Andy C. Pratt, eds., ‘Special Issue: The Cultural Industries and Cultural Policy’, The International Journal of Cultural Policy 11.1, 2005. Brian Holmes, ‘The Spaces of a Cultural Question. An Email Interview with Brian Holmes by Marion von Osten’, republic<strong>art</strong>, April 2004, http://www.republic<strong>art</strong>.net/disc/precariat/holmesosten01_en.htm. Pierrette Hondagneu-Sotelo, Domestica: Immigrant Workers Cleaning and Caring in the Shadows of Affluence, University of California Press, Berkeley, 2001. Geert Lovink, My First Recession: Critical Internet Culture in Transition, V2_/NAi Publishers, Rotterdam, 2003. Christian Marazzi, Il posto dei calzini. La svolta lingusitica dell’ economia e i suoi effetti sulla politica, Bollati Boringhieri, Torino, 1999. Randy M<strong>art</strong>in, The Financialization of Daily Life, Temple University Press, Philadelphia, 2002. Brian Massumi, ‘Fear (The Spectrum Said)’, positions 13.1, pp 31-48, 2005. Sandro Mezzadra, Diritto di fuga: Migrazioni, cittadinanza, globalizzazione, ombre corte, Verona, 2001. ______. ‘Capitalismo, migrazioni e lotte sociali. Appunti per una teoria dell’ autonomia delle
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art-e-conomy theoretical reader edi
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Saskia Sassen Economy and Art Today
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FOREWORD This publication is a theo
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Marko STAMENKOVIĆ INTRODUCTION CUR
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not whether there is a connection,
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As it is now evident and possible t
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The current reality of contemporary
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official presentation[12], the Euro
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(1) The capitalist economic system
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1 Miško Šuvaković, “The Ideolo
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24 économique du travail. Les sect
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26 d’information et de manipulati
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28 La segmentarité moléculaire Da
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30 Les pédés, les fous, les radio
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32 mesure qu’il se sentira débor
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34 upon consent nor even capable of
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36 universally valid and applicable
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38 imposing obligations on themselv
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40 A cosmopolitan Europe of nationa
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42 Tatjana ĐURIĆ KUZMANOVIĆ Glob
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144 interactional exchange, and hie
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146 works of art and those who may
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148 Ewen, S. (1988). All consuming
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150 Die Mechanik des Kunstbegriffs
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152 Doch so aktuell und vielseitig,
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154 abgetan worden wäre. Dies ist,
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156 sich lässig, smart, durchsetzu
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158 Katalogen lesen, von Art Consul
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160 das Marketing verdingen und so
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162 Saskia SASSEN Economy and Art T
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164 capacity to make present is a n
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166 the development of communicatio
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168 3 One interesting instance here
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170 the market for mass culture. To
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172 may produce future consumers, a
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174 Martin FERRO-THOMSEN Change thr
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176 anything other than artists. To
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178 - ungrounded, fluid, virtual«[
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180 Julie VANDENBROUCKE & Michel ES
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182 great deal of social resistance
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184 But is producing “this sort o
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186 become more involved. Once the
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188 Elena FILIPOVIC The Global Whit
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190 Now, Biennials and Other Large-
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192 almost categorically fixed, a p
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194 of dialogue between artists, in
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196 to white cubes amounted to a ra
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198 stage stood in the middle of th
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200 the constitution of society in
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202 Yet, one could say that the “
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204 See, in particular, Douglas Cri
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206 manner, verging on seamless sli
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208 Such a statement naturally call
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210 exploitive and forced nature of
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212 Pier Luigi SACCO & Marco SENALD
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214 academicism for the feverous re
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216 a notable step ahead toward ben
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218 Pietroiusti on one side and Tak
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220 Žarko PAIĆ The Spectacle of t
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222 The project was brought to a cl
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224 Martinis’s “intervention in
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226 Marina GRŽINIĆ Performative A
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228 Economic contradictions are cen
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230 Susanne ALTMANN Artists Strike
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232 its creation, Althamer investig
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234 Dawicki’s colleagues from Sou
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236 Some of the hopes and illusions
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238 27. Dan Perjovschi in an email
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240 Quitting the common artistic wo
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242 oriented practices into an arti
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244 According to Adorno’s aesthet
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246 The approach underlying the ent
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248 and hypocrisy of the internatio
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250 Interestingly enough, for the s
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252 6. Of course, Adorno’s thesis
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254 art theory. The magazine is pub
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256 grant systems that support not
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258 but also in new media. And ther
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260 MIHNEA MIRCAN: There was, of co
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262 become one of the first victims
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264 as a private museum, which does
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266 edge and this competitive edge
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268 very different from the German
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270 als wichtigste Produktionsfakto
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272 sowohl der Wirtschafts- als auc
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274 Malerei-Bewegung erfolgten viel
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276 SOURCES Félix Guattari, “Le
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278 ABOUT THE CONTRIBUTORS Félix G
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280 Struggle in High Technology Cap
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282 Cultural Politics, Cultural Stu
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284 the collaborations evolved from
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286 Marina Gržinić Born 1958 in R
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288 About the Editor Marko Stamenko
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290 art-e-conomy theoretical reader
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292 CIP - Каталогизаци