perspectives [July 7, 2015]

There is something uncanny about the resemblance regarding the recent ‘Greek case’ and its relation to other ‘turmoils’; different times, ‘other territories’. Therefore, set one after the other, two dissimilar moments and three not aligning expert positions (in their ideological stand). This just to check the old riddle: 1+1 is not always 2; hence (as we all know) economic policies are not only about facts but mainly related to power or something else.
One of the texts was written decades ago, nonetheless it sounds as relevant as if it was published not far away in time. The other texts are contemporary, nevertheless applicable to five decades ago. What does it mean? Are not we facing the same death-lock over and over again?
What lays ahead is a time for possibility but also pragmatism. To understand that the weight that the greeks had undertaken on their shoulders will crush them with out solidarity (already is), easy to say difficult to execute. Then, it is not an European moment so to say, there is something bigger on stake.

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This text was written in 1971 by the intelectual and novelist Eduardo Galeano in 1960 (you could find an english version below):

(…) La región vive el fenómeno que los economistas
llaman la explosión de la deuda. Es el círculo vicioso de la
estrangulación: los empréstitos aumentan y las inversiones se suceden y en consecuencia crecen los pagos por amortizaciones, intereses, dividendos y otros servicios; para cumplir con esos pagos se recurre a nuevas inyecciones de capital extranjero, que generan compromisos mayores, y así sucesivamente. El servicio de la deuda devora una proporción creciente de los ingresos por exportaciones, de por sí impotentes –por obra del inflexible deterioro de los precios– para financiar las importaciones necesarias; los nuevos préstamos se hacen imprescindibles, como el aire al pulmón, para que los países puedan abastecerse. Una quinta parte de las exportaciones se dedicaba, en 1955, al pago de amortizaciones, intereses y utilidades de inversiones; la proporción continuó creciendo y está ya próxima al estallido. En 1968, los pagos representaron el 37 por ciento de las exportaciones (…)
The region is experiencing the phenomenon that economists call the “debt explosion.” It is a strangulating vicious circle. Loans increase, investments follow investments, so that payments grow for amortisation, interest, dividends, and other services. To pay off these debts, new injections of foreign capital are resorted to, generating bigger strong commitments, and so on and on. Servicing the debt consumes a growing proportion of income from exports, which in any case, due to the unremitting fall of prices, cannot finance the necessary imports; new loans to enable the countries to supply themselves thus become as indispensable as air to the lungs. In 1955 one-fifth of exports went for amortisation, interest, and profit on investments; the proportion has kept growing and is approaching the explosion point. In 1968 these payments amounted to 37 percent of exports(…)

 

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This text was publish not long ago by an electronic publication. It is an interview to the now super-star economist Thomas Piketty:
(…) Absolutely not. This is neither a reason for France, nor Germany, and especially not for Europe, to be happy. I am much more afraid that the conservatives, especially in Germany, are about to destroy Europe and the European idea, all because of their shocking ignorance of history.
Exactly. After the war ended in 1945, Germany’s debt amounted to over 200% of its GDP. Ten years later, little of that remained: public debt was less than 20% of GDP. Around the same time, France managed a similarly artful turnaround. We never would have managed this unbelievably fast reduction in debt through the fiscal discipline that we today recommend to Greece. Instead, both of our states employed the second method with the three components that I mentioned, including debt relief. Think about the London Debt Agreement of 1953, where 60% of German foreign debt was cancelled and its internal debts were restructured (…)
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This text was published in an electronic economic newspaper last weekend. The quotations came from the former IMF director, ‘next president of France’ and now infamous Dominique Strauss-Kahh
(…)To achieve this, the government would have to start collecting taxes and confronting the oligarchy, the vested interests and the deep state that are sapping its formidable potential,”
“My proposal is the following: Greece should get no more new financing from the EU or the IMF but it should get a generous maturity extension and significant nominal debt reduction from the official sector,” Strauss-Kahn wrote(…)
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Eduardo Galeano /Open veins of America Latina. LINK

Thomas Piketty / Interview. LINK

Strauss-kahh / Interview LINK

work + work workshop

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work + work + workshop
w/ Łukasz Koterba, Kim Kannler, Werker Magazine and the Front Line

April 30th, 19:30
at Tetterode M4, Da Costakade 158
Amsterdam.
Please RSVP sending an email to: frontline@aramirezlab.net

Everything is fluid, flexible and for free in our current ‘Farewellfare State’ – even work. In the 1960s and 1970s artists like Constant, Provo, and Beuys in Europe, Fluxus in the US and Massota in Argentina have called for the blurring of art into life and work into play. Today their dreams have eerily materialized into the prevailing post-Fordist service economy, which feeds on creativity, mobility, and elasticity, rendering every subject into a nomadic, project hopping life-artist, looking for opportunities and livin’ la vida loca.

Roll up your sleeves and join us on April 30 – the day before international MayDay and Labor Day celebrations – for an evening with talks and discussions on the topic of Work. How is Joseph Beuys’s motto “everybody is an artist” revamped and repackaged in the so-called New Economy? How are local patterns of precarity, invisible labor and social abuse mirrored in or entangled with the global Phanta Rei of flowing labor and capital in the world economy? What is work today, and how is it represented in a time in which labor is immaterialized, outsourced or automatized, in other words: vanishing from sight? Are photography, art, design, and journalism still effective as means to expose exploitation and to render visible immaterial labor? Can these media cope with the growing complexities and abstractions of the global economy?

Art historian Kim Kannler presents her research project exploring the labor conditions and mobility in China through the lens of filmmaker Jia Zhangke. Journalist Łukasz Koterba will discuss labor migration from Poland to the Netherlands. Front Line-participant Roel Griffioen will give a brief introduction into the workers’-photography movement in the 1920s and 1930s, which encouraged the documentation of proletarian working and housing conditions through amateur photography. Finally, Marc Roig Blesa and Rogier Delfos will present their ongoing project Werker Magazine, which is both a contextual publication about photography and labor, and a domestic worker photographer network.

Practices and research projects will be shared and discussed in open environment. We would like to invite you to contribute by sharing your own ideas regarding the representation of labor.

work + work + workshop is organized by the Front Line, in collaboration with Kulter and M4gastatelier.

The Front Line explores current intersections of art and politics through talks, dinners, publications, and curated encounters with artists, activists, and researchers. It is initiated by Rana Ghavami, Alejandro Ramirez, and Roel Griffioen. Their residency period in M4gastatelier (1 Feb-1 June 2015) will be used to set out a series of small-scale public events. Please visit our website for regular updates of the program: http://frontline.hotglue.me/

If There’s Something Strange in Your Neighborhood Art, Gentrification, and Housing Politics

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April 15th and 16th
Lectures, workshops, and film programme
Location: M4gastatelier and Dijktheater

“Art, culture and society need each other. Not only because it inspires us and enhances our identity. But also because artists often specifically devote their work to making the world a better, prettier, cleaner, and more liveable place.”
— Jet Bussemaker, Minister of Education, Culture and Science, December 2014

“If there’s something strange
in your neighborhood
Who ya gonna call?”
— Ghostbusters

With the recent surge of artistic activity in the urban periphery, the word ‘neighborhood’ has made an unexpected comeback as a trope in the contemporary art world. Artists, or more generally speaking, creatives, nowadays take in a central place in policy-friendly models for urban growth (Richard Florida; Charles Landy), and their site within this paradigm is, well, the local. Urban planning departments, policy-makers, and housing corporations are keen on inviting artists and social designers to the table when planning neighbourhood redevelopment. Simultaneously, the new and much-debated funding program: The Art of Impact further officialises such projects by focusing on art that has – to cite the website – a “clear social impact”.

Rather than applauding or reproaching specific art and social design practices, we want to explore this “local turn” in relation to other questions as well. Namely, how is art’s spatial shift from the urban centre to the periphery tied together with city branding policies? How is this shift linked to the drastic neoliberal restructuring of the Dutch housing system and to the privatization of social housing? What kind of art practices does the ever-expanding Creative City frontline foster? What is art’s social or economic dividend in processes of neighborhood development and can this be converted into sustainable change to the benefit of the entire local community? And is solidarity desirable, or even possible, between the parachuted–in members of the footloose, de-territorialized art precariat and the postfordist blue-collar back markers who are “doomed to be local”, to paraphrase Zygmunt Bauman?

Organized by the Front Line, in collaboration with Kulter.

April 15, from 19:00 hrs.
Gentrify this! How have neoliberal modifications to the housing system been accelerating the pursuit of gentrification? Are artists necessarily catalyzers of such processes or can they be agents of deceleration? With sociologist Wouter van Gent (UvA), Nikos Doulos (Expodium), Saskia Naafs & Guido van Eijck (Groene Amsterdammer), and Abel Heijkamp, Liselotte van Vliet & Gerard Leusink (Bond Precaire Woonvormen).

April 16, from 19:00 hrs.
The Artist and the Other(-s). Who are the discontents of urban renewal processes, and how can we read their “discourses of displacement”? With anthropologist Paul Mepschen (UvA), Claudia Zeller (teacher at Sorbonne), Johanna Schipper (Bookstore Project), Alejandro Ramirez (Front Line), and Adelita Husni-Bey (current Artist at Work at Casco).

April 16, Afternoon.
Film program @ M4 Guest Studio
Limited seating, please make a reservation by sending an email to frontline@aramirezlab.net. The schedule will be send to you in advance. If you have suggestions for films (maybe your own?), let us know.

The program is subject to change. Details will follow shortly.

The events are organized by and with volunteers. A voluntary donation is asked to cover for basic production costs.