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to revolutionary to artist in the aftermath of the events of the 1870s; hierarchically
such as the incorporation of art into revolution in the Prolekult movement of the
1920s; through a juxtaposition of art and revolution as in the experiments of the
Viennese Actionists in 1968; or though what Reuben Fowkes calls the tantalizing
possibility of transversal concatenation, which he “identifies with the overlap
between contemporary art and protest politics in the anti-globalisation struggle
since the mid-1990s”. [1]
I will draw on Raunig’s notion of transversal concatenation of art and revolution
as I think it describes the murky potentiality each offers the other: he proposes a
way of conceptualizing the two as a series of productive and temporary
overlaps without elevating or distorting one or the other. I share with Raunig his
interest in the space between art and activism where art momentarily crosses
over into the sphere of revolution and revolution momentarily loops back into art.
But I hope to merge with Raunig’s analysis my own materialist interest: I see the
transversal concatenation of art and revolution as a possibility which has existed
alongside the evolution of revolutionary practice and artistic experimentation
and which has been affected and transformed by lived experiences in both
these realms.
[1] Reuben Fowkes, http://www.translocal.org/writings/artandrevolution.html
BIOGRAPHY
Zanny Begg is the Director of Tin Sheds Gallery, The Faculty of Architectire, Design
and Planning and works as a curator, artist and writer. She works in a cross
disciplinary manner and her work revolves around an investigation of the politics
of space, both in the broader globalised context and a more specific local one:
she is interested in both the architecture of space and the social relationships
which construct it. Zanny was invited to Hong Kong for an Australia-China
Council Residency (May 2007), Indonesia for an Asia-Link Residency (June 2008),
for a Performance Space Residency in Redfern, Australia (Oct 2008) and
Australia Council Residency in Chicago (2010). Her recent exhibitions include
Emeraldtown at Artspace, Istanbul Beinnale, Taipei Beinnal, There Goes The
Neighbrouhood, Performance Space Sydney and Self Education – Self
organization, National Centre for Contemporary Art, Moscow, Russia.
MICHAEL GOLDBERG
Cracking the “Black Box”:Experiments in Financial Capitalism
In Pandora’s Hope: Essays on the Reality of Science Studies (1999), Bruno Latour
writes: “When a machine runs efficiently, when a matter of fact is settled, one
need focus only on its inputs and outputs and not on its internal complexity. Thus
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