ATTACK WHITE SUPREMACIST CULTURE!                                                    FIND AND AMPLIFY THE VOICES OF

ALL (IN)ORGANIC COMRADES UNITE!                                                                                            GAME THE SYSTEM!

ABRACADABRA-C  (Alytus Biennial Reversion into Abolition of Culture And Distribution of its Aberrant Bacillus Right Abroad – Committee)

ÐعM提п (former DAMTP - the DaðA Miners and Travailleuse Psychique) - workers union to disrupt the creation of cultural capital through regional and a national language

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Imagine a group of black niqab-clad women going in front of Notre Dame de Paris and burning flags that have pictures of Jesus or the French flag. What would people say? What would they think? What would these women be called? Terrorists? But do not feel disturbed, for such an action, can only be imagined; forget performing a sensationalist show of hatred or a truthful protest, niqab-clad women cannot even walk in the streets of Paris. [They are not allowed to. The French government dictates what these women can do or cannot do with their bodies; what they can wear or cannot wear.]


But these women – the women part of Femen – can do it; they can perform such a show. By baring their breasts and targeting the “right” flag to burn, the “right” place of religion to attack, the “right” group of people to slander – they get to have the right of showing their hatred, flaunting their intolerance, parading their bigotry without any shame. As long as your hate is directed at the “right” things and people – the things and people that those in power regard and situate as “the Other” – and as long as you conform to their ideas of “beauty”, “progress”, “good”, you are good to go.

Bear in mind, if old, obese, white men did this, colouring French flags on their bare chests, surely they would still get to do it without much public shaming in France, but at least some people would be displeased openly, some would even have the courage to say: “they are racists”, “they are orientalists”, “they are hateful”, “they are islamophobic”… But no such demeaning labels can be attached to the bare chested women of Femen, in our world of hypersexualisation where the best currency of exchange is what society deems a “sexy body”.


This sacred Hopi "Tumas Crow Mother" mask was sold in a Paris auction that went forward Friday over objections from the Hopi tribe and U.S. government. Selling for $209,000, it was the most valuable of 70 Hopi masks that fetched $1.2 million overall. (Art and Communication press office, Paris / April 12, 2013)

It is converting life to death and traditionally calls it culture.

This time Hopi of Arizona unsuccessfully tried to stop the recent Paris sale of their sacred masks.  International white bougeoisie hides itself under their long promoted shelter of cultural paradigm which is nothing but a racism and never had any other aspirations.

The situation clarifies sacred life concept of the indigenous people - the masks personify spirits, called ‘Kachinas’, which are thought to bring rain and encourage fertility, while the eurocentrist accumuliaton turns everything sacred into desintegrated mess and flushes through cloaca of aestetics. Racism always was integral part of aesthetism.

According to the French law Hopi do not have rights to claim for their own psychic life.

Is here anything what was not stolen in French „culture“ at all?

According to death law there is no right to live.

We compiled this letter not in order to finally get the answers to our numerous questions we addressed to you personally regarding our collaboration with ARTLEAKS (we realized no discussion is possible from your side), but to make our disappointment with this practice public, so that other interested parties would make their opinion of
ARTLEAKS prior to their engagement with your project.


What we did experience submitting a piece of writing dealing with German Establishment Culture of spring-summer 2012 was a ton of irrelevant remarks by the editors that lasted half a year - till the topic became irrelevant - which eventually came out to be nothing else but another method of "bringing consciousness down to the masses" (to us) by an anarcho-leninist spirit of artleaks editorial (and corresponding to political views common among their crew). All this only to be told that our submission did not conform to the format of Art Leaks Gazette one week before its public presentation – supposedly because we did not pass "writing from personal experience" filter – never mind the fact that concrete content of our contribution was known to the supposed publishers around a half year before the finished publication which was presented in Brecht Forum New York.

It comes as no surprise that artleaks editorial continues the obnoxious practice started by their heirs being acting accordingly to an agenda which is pre-decided, never discussed and imposed on the less theoretically vigorous - or even simply less fluent in English, which was a case with the two editors “collaborating with us” leaving the open mailing list and questions raised to them only to insult someone from our working group individually. While the demands to honestly explain the removal of our text that contrasted the contributions for the same publication by the institutionally larger partners of individual ARTLEAKS members (for example Vilensky's and David Riff's "Former West" mate Jonas Staal and his parliamentarian- democratic platform for militarists and weaponed paramilitary groups - "The New World Summit") miserably failed, we were accused for "poor English" (supposing most of the work was not done by ourselves but the language editor), "cold-topics" (supposing the colonialist agenda and the promotion of fascist artists by Christov-Bakargiev of documenta13 that we put in a broader social & political context was "known to most in the art world" though somehow nobody dared speak its name), and there was a "lack of truth" meaning we only drew on personal accounts but have not quoted them or took interviews? Read more AN OPEN LETTER TO DMITRY VILENSKY, VLADAN JEREMIĆ AND CORINA APOSTOL OF ART-LEAKS.ORG
[Translations in German and other languages soon]


Asylum Strike, PoCs in Germany, Anti-racism and capitalism, NoBorders from below or Asylum solidarity?


Strike, Commune, Occupy ?


the Asylum Strike is a historical moment of self-organisation where the undocumented and illegalised have manifest as a force on their own terms and shown the ability to go on the offensive against the state and racism in the heart of Western Europe and therefore on these same terms against international capitalism. At the same time it shows some glaring problems in how we organise and how we can look beyond the spectacular limits of current politics and strategies, especially with regards to racism. This text will not go into detail of wider issues such as how the “communisers” who seek invisibility and free association beyond nation and gender have made no attempt to understand those communities and individuals that are forced into invisibility – who are forced to leave their identities and homes in order to survive – and why we might seek visibility and how revolutionary consciousness and becoming requires articulation in terms of firstly identity then nation and in maturity in class consciousness and organisation. Neither will we look in depth at how the Asylum Strike and the Psychic Strike relate to the Human Strike. It is understandable that those who have no direct contact with international terrains of resistance and are closeted by the activist bubble are unable to see how they end up reproducing the classism inherent in neo-liberalist situations they arise from. What’s more worrying is how those who actively engage in fighting racism succumb to the same eurocentricity and racism too.


The focus of this text are the direct organisational problems around the O-Platz camp and is thus in part to respond to certain notions such as PoC in Germany and the statements "Its not all about racism" and "The laws are based on capitalism, not on racial discrimination" by some people. First of all it is racist to separate capitalism from the racial/negro slavery precondition and its continuity through denied racial(race based) discrimination likewise the racism without the discourse of race. (The continuity of racism without the discourse of race been suggested by many such as Etienne Balibar).

  Read more ON KNOWN AND UNKNOWN SELF (DIS) ORGANISATION (reloaded & updated on May Day, 2013)

The british government censoring of Jeremy Deller's hypergraphic Harry Kills Me at the 2013 Venice Biennale - which referred to Prince Harry's role as officer in the British Army in Afghanistan as well as his shooting of endangered hen harriers on one of his family estates as well as the fact that he is a seriously unfunny little fuck - can show us, besides the snivelling servitude of Deller and the bureaucrats of the British Council, some ways that art functions today.

The actions of the council first show how not just politics but how art too is a continuation of war by other means. The passive reaction and collusion of the press in the uk shows how censorship is art made not tongue-tied but triumphant. Meaning is constructed by what is occulted not revealed. Finally the collusion then of the artist himself who is quoted as being happy with the censorship shows how even the bourgeoisie have come to agree that art for arts sake is just another piece of deodorised dogshit.

We publish deller's piece here not out of some liberal defense of so-called freedom of speech or of art itself but in order to attack these abstract bourgeois constructions and their very real and detrimental effects on working class people everywhere.