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{"id":2421,"date":"2016-11-24T08:54:47","date_gmt":"2016-11-24T07:54:47","guid":{"rendered":"http:\/\/www.foreningenja.org\/?p=2421"},"modified":"2016-11-24T09:06:12","modified_gmt":"2016-11-24T08:06:12","slug":"a-new-job-to-unwork-at-opening-december-2-2016","status":"publish","type":"post","link":"http:\/\/www.foreningenja.org\/nyhet\/a-new-job-to-unwork-at-opening-december-2-2016\/","title":{"rendered":"A new job to unwork at, Opening December 2, 2016 5pm-8pm"},"content":{"rendered":"<p>YES! Association \/ F\u00f6reningen JA! is pleased to announce that our new durational participatory action  <em>All that you touch You Change. All that you Change Changes you.*<\/em> (2016-2017) will be part of the exhibition <em><a href=\"https:\/\/artspacenewhaven.org\/exhibitions\/new-job-unwork\/\" target=\"_blank\">A new job to unwork at<\/em> December 2, 2016 &#8211; March 4, 2017. Curated by Andrew Kachel and Clara L\u00f3pez Men\u00e9ndez for Artspace in New Haven, CT. <\/a><\/p>\n<p>Participating artists include: <a href=\"https:\/\/www.instagram.com\/kristine.anthis\/\" target=\"_blank\">Kristine Anthis<\/a>, <a href=\"http:\/\/art.yale.edu\/AnnaBetbeze\" target=\"_blank\">Anna Betbeze<\/a>, <a href=\"https:\/\/bravenewwhat.org\/\" target=\"_blank\">Jesse Darling<\/a>, <a href=\"http:\/\/theoriginalcopy.net\/\" target=\"_blank\">Jo\u00e3o Enxuto &#038; Erica Love<\/a>, <a href=\"http:\/\/www.essexstreet.biz\/artist\/mcarthur\" target=\"_blank\">Park McArthur<\/a>,<a href=\"https:\/\/en.wikipedia.org\/wiki\/Mierle_Laderman_Ukeles\" target=\"_blank\"> Mierle Laderman Ukeles<\/a>, YES! Association \/ F\u00f6reningen JA!, and <a href=\"http:\/\/constantinazavitsanos.com\/home.html\" target=\"_blank\">Constantina Zavitsanos<\/a>.<\/p>\n<p><em>A new job to unwork at<\/em> investigates work as a social, material, and economic process, as well as a legitimating discourse that privileges certain activities and life choices. The exhibition is the result of an ongoing research that examines work\u2019s crucial role in shaping our identities and our experiences of the world we live in. The artists in this exhibition explore this understanding of work with regard to cultural production, its relation to broader labor conditions, and current social and political movements. In a field increasingly reliant on the figure of the precarious freelancer and characterized by individualistic entrepreneurial values, these artists look toward renewed possibilities of resistance through strategies of dialogue, dependence, and care. If on a modest scale, this project aspires to support nascent models of speculative world-making and activism through forms of artistic labor.<\/p>\n<p>The title <em>A new job to unwork at <\/em>is borrowed from Valerie Solanas\u2019s cult feminist text <em>SCUM Manifesto<\/em> (1967), which calls for women\u2019s active and systematic dismantling of the patriarchal labor force by disobeying its laws and destroying its infrastructures. Such an orientation toward work evinces a communist utopia\u2014\u201cSCUM salesgirls will not charge for merchandise; SCUM telephone operators will not charge for calls\u201d\u2014while also acknowledging the piecemeal and ongoing nature of this struggle against dominant ideologies and structural violence: \u201cSCUM will unwork at a job until fired, then get a new job to unwork at.\u201d[1] Solanas\u2019s manifesto is a node in a critical tradition that can be traced back to Marx\u2019s analysis of estranged labor, which argued that \u201cLabor produces not only commodities; it produces itself and the worker as a commodity.\u201d[2] This idea is brought to bear on a contemporary socioeconomic context in Kathi Weeks\u2019s recent feminist analysis of the concept of \u201cwork ethics,\u201d in which she questions the indiscriminate valorization of work, and its rarely questioned investment with value. As Weeks writes, \u201cWhat is perplexing is less the acceptance of the present reality that one must work to live than the willingness to live for work.\u201d[3]<\/p>\n<p>An earlier iteration of <em>A new job to unwork at<\/em> was organized at Los Angeles Contemporary Exhibitions (LACE) in spring 2016 in the shape of a research platform. A group of local artists and curators met weekly to engage with the core ideas of the project, and gave it shape through the collaborative production of a syllabus (accessible at: anewjobtounworkat.tumblr.com). For the project\u2019s current iteration at Artspace, the curators will continue to implement this localized approach, engaging diverse New Haven constituencies to unpack issues of labor as they relate to the specific educational and social politics particular to this place.<\/p>\n<p>#  #  #<\/p>\n<p>References:<br \/>\n[1] Solanas, Valerie. <em>SCUM Manifesto<\/em>. New York: self-published, 1967.<br \/>\n[2] Karl Marx. \u201cEstranged Labour.\u201d <em>Economic &#038; Philosophic Manuscripts of 1844<\/em>.<br \/>\n[3] Weeks, Kathi. <em>The Problem with Work: Feminism, Marxism, Antiwork Politics, and Postwork<\/em>. Durham, NC: Duke University Press, 2011.<\/p>\n<p>Andrew Kachel and Clara L\u00f3pez Men\u00e9ndez are two (in)dependent curators based in New York and Los Angeles, respectively, working through issues of collaboration, labor, friendship, subjectivity and political coherence.<\/p>\n<p>*The title <em>All that you touch You Change. All that you Change Changes you.<\/em> is taken from <em>Parable of the Sower<\/em> by Octavia E. Butler, 1993.<\/p>\n<p><a href=\"https:\/\/artspacenewhaven.org\/about\/\">About Artspace<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>YES! Association \/ F\u00f6reningen JA! is pleased to announce that our new durational participatory action All that you touch You Change. All that you Change Changes you.* (2016-2017) will be part of the exhibition A new job to unwork at December 2, 2016 &#8211; March 4, 2017. Curated by Andrew Kachel and Clara L\u00f3pez Men\u00e9ndez [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[3],"tags":[],"_links":{"self":[{"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/posts\/2421"}],"collection":[{"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/comments?post=2421"}],"version-history":[{"count":7,"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/posts\/2421\/revisions"}],"predecessor-version":[{"id":2428,"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/posts\/2421\/revisions\/2428"}],"wp:attachment":[{"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/media?parent=2421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/categories?post=2421"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.foreningenja.org\/wp-json\/wp\/v2\/tags?post=2421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}