Diy cultures although it doesn't bill itself as such is an event that brings together the Self organisation of psychic workers rather than on any political or artistic basis. It was organised by members of OOMK, Other Asias and the Free Talha Ahsan campaign.

3VOL said they would go and take the DesaKalaPatraGraph as well as a pamphlet version of the graph and copies of the latest DAMTP paper #8 as well as their latest cd "4REAL". Most other members of DAMTP were at the Silkeborg three sided football tournament. By playing their games they were disrupting NATO's quantum nuclear experiments.

It took some time to install the graph at RichMix as the organisers had initially asked for it to take only one metre squared but on the day we were able to install a previous version from "Performance and Documentation", which was larger, with the help of rich mix lighting technician Chimu. We also met Squid early on who leant us some scissors. I later chatted to Squid about gender identity and was reminded about my own privilege under patriarchy as we discussed strategies for resisting gender roles.

Image1: The DKPGraph being photographed – DAMTP material is next to Patrick Wray’s AMOK comic before it was removed – and the "Fine Cell Work" display

[the paper was delivered by DAMTP at the conference held in Museum Jorn in Silkeborg (Denmark) on May 23rd, 2014 and so to celebrate Asger Jorn‘s 100 year anniversary and the First Threesided Football World Cup organized for that occation]

The main task of the DAMTP contribution to Threesided Football Event of Silkeborg in May 2014 is to point at its basic Eurocentrism in the core of understanding Identity as singular projection of the Nation.

We therefore sugest to expand the understanding of Identity from binarity of Name-Nation into a triolectics of Letter-Name-Nation and further projecting into a triolectics between Nation-Name–Situation what shapes the Class consciousness. All the resulted bitriolectical plexus gives an oportunity to attack the concept of Nation not only individually from lettrist or situationist positions but also in alliances with Name (individuality) so tactically combining rationality of the laws and irrationality of the carnivalesque. But we sugest to go even further and from time to time to betray the bourgeois individuality in this triolectic game. This way of the game construction ensures elimination of basic features of bourgeois „serious culture“: symbolism and spectacle.

One more aspect on the eurocentrist identity-comprehension critique was provided by our fellow traveller from Cameroon. So far the Identity is a word of Latin origin we were seeking for the words of non european origin and one was found in an already almost forgotten language of people from some particular location in Cameroon. They have a word „N‘Dui-Mbén“ what literally means „down and up“, or simply „how you‘re dressed up and down“. There are different words used for identity in this part of Africa, but all have a meaning of whom they think they are. DAMTP takes it seriously as practical non-european approach in this area – we want to know personally who have produced our dress, we are in solidarity with their work, and we are seeking our garment to be related to the labor we do.

recuperation of anti art and anti political practices are further evidence, as if any was needed, of the collapse of capitalist neoliberal democracy.

recently grafitti and vandalism has become accepted into the cannon of art and so now even the vandalism of political propoganda is being reported in an  attempt to increase political propoganda through its negation. Also, drawing marginal parties into the mainstream of the political circuit also serves this function.

it is evident of course that the reporting online and in print, of the vandalism of political propoganda never focusses on the revolutionary aspect of the act itself - the self organisation of the producers of daily life.

the subvertising/ detournement/ vandalism/ defacement/ appropriation (your own preferred word here) of propoganda this year raises some interesting questions. since the 60s groups like the billboard liberation front have developed understanding of media jamming/ semiotic/cultural trrsm - detournment but it is worrying that especially since things have progressed so much with the praxis online, there is little theoretical clarity. that said it is good to see various different methods being used in a political context recently.

Some examples of media coverage of this include an art critic reviewing some billboard posters attacked by anti-fascists. In this article he mentions one in Nottingham and references Situationism. However he shows his ignorance by not mentioning psychogeography or indeed hypergraphy let alone situgraphy. The TV art critic is of course partly right to say that the torn paper on a billboard is referencing situations. The billboard in question is of course an application of Ultra-Lettrist techniques.

An ex-KLF artist also gets in on the act by painting over a billboard in Birmingham. By stating in the media that the act is based on moral and aestheitcal concerns he sides with art as a construction. The meeting of aesthetics and politics has been gone into in boring length in analyses of fascism and its worth noting here that his tactic is thus akin to those who promote Shariah  and paint over billboards and other street adverts with white paint, in order to obscure the flesh of the women portrayed.

Programme of Talks (mainstage)

1pm Decolonise It Yourself 
with Black Feminists & OOMK 
2pm Mental Health Zines & Anti-Psychiatry
3pm Prison Creative Solidarity Networks
4.30pm The Poetry Pamphlet & DIY forms
with Annexe
5.30pm DIY Fashion
with Tansy Hoskins, DIY Couture 

Programme of Workshops (venue 2, upstairs, 4th floor)
all day upstairs, free

2pm Make your own book - We Make Books
2pm Make a needle case - Fine Cell Work
3pm Zoetrope - Natalie Kay-Thatcher and Harriet Cory-Wright
4pm Zine making - OOMK

5:30pm Poetry live mic event, reading from pamphlets

Exhibitions (venue 2, upstairs, 4th floor): 

Artists Book Exhibition including works from staff and students of CFPR at UWE Bristol, MA Book Arts at Camberwell, Raking Leaves among others

Video and Animation

Desa/Kala/Patra/Graph (Trimensional Proletarianist Situgraph)
an installation by the psychic workers union - DAta Miners Travailleuse Psychique (DAMTP)

Exhibitors include:

Adi Hollander, Hanecdote, Feline Vomitus, Crumb Cabin, Hannah Prebble, Micheal Adebayo, Mark Pawson, Cool Schmool ZInes, Strike!, Avery Hill Publishing, Neil van der Knutsen, Kirsty Fife, Dead Trees and Dye, Eyeball Comix, No Brainer Zine, two magpies, DUPE, Gareth Brookes, OOMK, Caroly Storey, Julie Kane, Tini Pencil, Diana Stanga, Alex Hahn Publishing, Athemaura zines, Esther McManus, Flamingo Magazine, Interactive Monster Unit, The Well Met Press, Conjunction, Microcosmic Orbit, Monster Emporium Press, Ben Rider, Ryan Humphrey, Rosemary Kirton and Thom Dinsdales, Poems Underwater, Vampire Sushi, Sam Giles, Other Asias, Usman Mohamed, UWE in Bristol, Kingston Make/Do, Bearguts, Shiori Clark, Camino Studio, Steve Larder, Musaraña Libros, Akina Books, John Hughes, DAMTP, Animated Review/Henry Press, Tania MiraisomiA, Becky Kidner, Not Shut Up, Pluto Press, Belly kids, Atiah Z and Rudy Loewe, Numbi, Occupied Times, Dave Lander, Cageprisoners, Annexe, Fine Cell Work, Exploding Cinema, Zine Arcade

There will be a FREE communal table for people with one-off zines to sell. Bring your zines on the day.

Among other 9 teams DAMTP‘s are invited to participate in first ever Three Sided Football World Cup in Silkeborg. DAMTP decided to be there and to celebrate the triolectics victory over the dualist thinking.

Together with the International Three Sided Football Federation Museum Jorn will be hosting the first World Cup in Three Sided Football ever held – and you are invited to participate. Teams from 8 different European countries will participate in the World Cup tournament taking place Saturday 24th May.

The event - taking place from Friday 23rd May until Sunday 25th May - will start off by a symposium held at the Museum Jorn Friday 23rd May, where important players, thinkers of triolectic football, and players within the development of the game will be brought together. Asger Jorn being the originator of the game, Museum Jorn is delighted to bring the game back to its roots in Silkeborg.

The symposium held Friday (registration necessary) as well as the World Cup tournament held Saturday are public events and you can get further information about both events on our website as soon as all the details for the program are scheduled.
Don’t miss the first Three Sided Football World Cup.

By this report I would review the seeming-to-be-ordinary bourgeois art event from the prospective of the psychic (art) worker and to try to identify what is dead and what is living in the case of [self] organization by the highly individualized persons. The dead (or at least reactionary and counter-productive) elements I will present as Zone of Bourgeois Development (ZBD) while living (or on the edge to be born) will be reviewed under the rubric of the Zone of Proletarian Development (ZPD) – a method which I borrowed from Mastaneh Shah-Shuja‘s study.

Before starting I want simply to confess that before arriving to Uruguay I was cached by some emanation of eurocentrist tendencies which I found of my interests to investigate while being in this country. But when arrived and during all my staying there I was shocked about the measures of European influences on this relatively small country – I found easily recognizable traces, hints, failures, divergences, impositions almost in every step I did in this far southern country. And in the very beginning I want to clarify that the object of my critique is not the incredibly nice and lovely people, but rather the situation, which is rooted globally, so the addressee is much wider then just few dozens people involved in this and other Hotel De Inmigrantes (HDI) projects worldwide.

Zone of Bourgeois Development

One of the biggest sins of bourgeois society is it‘s Organizational Dualism. HDI event from the very embryo was manifesting this dualism of the “high concept“ and nothing-in-relation having the realization of typical contemporary art show. The theoretical part of Uruguay version of the HDI represents exactly the same tendency: the main object of the artists gathering was production of the contemporary art show. The artists came prepared with their ideas for the show, brought the works (or executed it at place) and so realized the show. The making of art actually was a factor which alienated the participants (with few exceptions) instead of letting them to do things collectively. The show was arranged for the bourgeois public which attended the opening – so fostering a dualism of the spectacle and its consumer. Therefore artists got into a dualism of their own living conditions (“pure as immigrants“) and as specialists to produce the show. Dualism was established in the very nature of the art production so far mostly works hold symbolic-representative thinking. And finally project in Montevideo was realized (rather it happened quite spontaneously) in a very dualist manner – one space was designed as “serious“ museum exposition of atomized units (“bourgeois“), while the courtyard was more vivid, playful, messy, (inter)communicative (“proletarian“).

GAP Cambridge shut in shame on 1st Anniversary of Rana Plaza Collapse GAP and GAP Kids shops were shut in shame in Cambridge yesterday as customers, workers and passers-by were reminded and informed about the 1st anniversary of the Rana Plaza disaster where workers were mass murdered by the company’s practices. Most customers took flyers and were interested to know that GAP are still refusing to sign the Bangladesh Safety Accord preferring to create a sham safety alliance themselves. Some customers also signed the letter calling on the GAP CEO to sign the accord and to recognise all workers unions.

When the manager of GAP was given a flyer she at first refused to discuss the issue at all or to pass the letter on to her superiors but did eventually agree to let them know of customers views. CLASS was then asked to leave GAP and did so, but flyers and conversations with customers continued directly outside the shops on the pavement. Anyone going in or out of the shop was approached and the vast majority were interested to hear about what had happened at Rana Plaza and subsequently.

It wasn’t long until the sale signs were taken into the shops and the doors were locked. CLASS continued to talk to passers-by as well as people trying to get into GAP, only to be told it was shut, and those customers now being let out one by one from the shop. Some also signed the letter and the shop manager was good enough to take a few when asked to by knocking on the shop windows. After the first time however she said that the shop was now shut, the staff were going home and so further signed flyers could be left under the door.

A few people who signed flyers said that they would return the next day to give them to shop staff themselves. Anyone in Cambridge is very welcome to print out the flyer, sign it and hand it in to the manager at the shop on Market Street. A big thank you to those who do so. CLASS will also return to GAP to continue this dialogue in the future.

This action, on the 1st anniversary of the Rana Plaza collapse, was carried out by the Cambridge Lettrist And Situationist Society (CLASS) in solidarity with global actions called for by Labour Safety Forum Bangladesh,  Clean Clothes Campaign and War on Want. CLASS is a Communist (dis)organisation consisting of one member and part of the psychic workers union DAMTP. All in all the action, inside and outside GAP and GAP Kids, lasted about 30 minutes.

Here I bring more gloom.

One year and Brands have still been denying compensation, people still sitting in hospitals.

I wanted to share the website Saydia and the other activists, artists and anthroplogists who have been on the cause wholeheartedly. , on the first anniversary of the Rana Plaza tragedy, to be held at Pathshala. The website launch is part of Pathshala’s five-day long programme of commemoration (22 - 26 April 2014), titled “1134. Lives, Not Numbers.”

Thanks for your support everyone, I know I have been awful in contact.  IT is draining here, one calamity after another. This place is buzzing with dark fascism at the moment and no end to violations I'm having to record, report to a system of systems. 

Hoping you are all well.

Much love,


INVITATION: “Shondhan chai” – launching online archive of family posters seeking Rana Plaza victims

The struggle of man [sic] against power is the struggle of memory against forgetting.

― Milan Kundera

“Shondhan chai” – website launch of Rana Plaza family posters

5:00 – 6:00 pm, 24th April 2014

Pathshala, 16 Shukrabad, Panthapath, Dhaka – 1207

twentyfourapril invites you to the launch of its website, , on the first anniversary of the Rana Plaza tragedy, to be held at Pathshala. The website launch is part of Pathshala’s five-day long programme of commemoration (22 - 26 April 2014), titled “1134. Lives, Not Numbers.”

The website, an ongoing work, is an online archival collection, consisting of photographs of posters of missing garment workers and employees; these were pasted largely on the gate and walls of Adhar Chandra High School, some at Enam Medical College and Hospital, by distraught family members, friends and acquaintances soon after the collapse of the eight-storied commercial building in Savar, Dhaka, which had housed five garment factories.

Serbio trabajadores en Urugvay volvimos a Serbia. En consulta con nuestros abogado y Hector de la union y por razones que todavia no tienen la fecha del juicio.Ahora, estamos todos en Serbia. Lo sentimos, pero por consejo de los abogados no queria hablar de ello. Todos las fechas normales para la programacion de audiencias han sido violados y ahora ,todos sabemos que se trata de un juicio politico. Tambien, y aqui en Serbia,iniciaremos los procedimientos judiciales. Llagemos en Urugvay cuando tenemos una fecha para la primera audiencia. Nos podremos en contacto por correo. Muchisima gracias para todos, un grande abrazo, besos y salud.

After weeks of negotiations with the Senate, Oranienplatz was evicted on 8 April 2014 – against the will of many inhabitants, contrary to version presented by the Senate and many news sources. This scenario threatens to repeat at the occupied Gerhart Hauptmann School.

Since the start of the negotiations, the refugees showed great interest in an agreement and were ready to compromise. The Berlin Refugee Council accompanied the negotiations between the Senator of Integration and the Oranienplatz delegation almost to the end, to support the refugees in face of the Senate's disproportionally strong negotiating position. We strongly criticize the strategy followed by the Senate and the district administration of Friedrichshain-Kreuzberg:

1) *Insufficient, intransparent offer:* The offer presented by the Senate is far behind the refugees' demands and largely ignores the legal possibilities for giving the refugee groups represented at Oranienplatz a perspective to become legalized. Furthermore, the offer leaves crucial questions open and offers the affected people no security of any sort – neither for the procedure, nor for the result.

2) *Negotiations under great pressure:*For weeks, it was unclear under which mandate Ms. Kolat was negotiating. Only on 13 March 2013 did she present an “Agreement Paper” authorized by the Senate. The Senator then began to build great time pressure. She refused to answer the concrete questions of the delegation members and the Refugee Council and postponed them for “later.” So the offer's actual contents and schedule remained unclear. The Senator ignored the request of the Refugee Council to broker a discussion with the chief of Berlin's foreigners' office about the realization.

3) *Uni**lateral **proclamation**of an agreement:*The majority of the delegation members initially denied the agreement paper and it also found little support at an information event for the Oranienplatz refugees hastily convened by the Senator on the evening of 17 March 2014. Still, the Senate announced an agreement on 18 March and claimed that 80 percent of the refugees supported it (see press release by Refugee Council on 19 March 2014:

Por medio de Termoelektro y Felvok Internacional S.A., (tercerizada de Montes del Plata) e integrante del grupo Kresta llegan a mediado de mayo unos 70 trabajadores serbios para trabajar en la construcción de la planta de Montes del Plata en Conchillas. Entrando al país con visa de turistas.
Luego de trabajar un mes y medio de 10 a 12hs diarias, inclusive sábados y domingos, al no cobrar sus sueldos con el apoyo del SUNCA pararon sus actividades.  A esto se le suma la retención de los pasaportes y pasajes por parte de la empresa (Si esto no es esclavitud, que es??). Luego de pocos días de paro se ponen a disposición de la empresa pero ésta no les permite entrar a trabajar.
Es así que emprenden su lucha contra un gran monstruo como Montes del Plata. Desde Julio hasta ahora, bajo múltiples presiones y amenazas muchos se han ido sin recibir su pago. Siendo obligados a firmando un documento en español, que afirma que recibieron todo lo adeudado por su trabajo y que no podían reclamar nada más a la empresa, cuando en realidad sólo se le dieron algunas migajas. Fueron siete los que se negaron a firmar (quienes llevaron adelante una huelga de hambre en la plaza independencia). No queriéndose dejar estafar por la empresa es que deciden ir a una abogada y hacer una denuncia en el juzgado de Conchillas, pasando esta demanda laboral a la justicia en Montevideo. De los 7 serbios hoy quedan 5 que gracias a la solidaridad de muchos individuos y sindicatos mantienen su lucha, quieren cobrar la totalidad del contrato pre-establecido ya que la empresa no les permite trabajar más y los presiona para que vuelvan a su país.
Ahora la empresa encima los demanda por injurías, y seguimos, después de más de 7 meses, esperando fecha para nuestro juicio . ¡Estamos prisioneros en Uruguay!
! La solidaridad de los pueblos es el talón de Aquiles del Capital!! Solidaridad con todos/as los estafados/as por Montes del Plata!!


[below attached versions in English, Lithuanian and Russian]

[scroll down for English]

Queridos camaradas,

Nos dirigimos a ustedes como  sus compañeros de trabajo . Hemos rechazado el papel del artista para convertirnos en los  Mineros de Datos YTrabajadores Psíquicos ( DAMTP )

DAMTP se ha formado a partir de la Huelga Bienal de Arte de 2009 a través de discusiones con los Trabajadores Industriales del Mundo .

Nuestro objetivo específico en este momento es atacar a la supremacía blanca , el patriarcado y la cultura burguesa - para abreviar, eurocentrismo . Estos problemas existen en el arte - uno de los muchos aspectos especializados y mercantilizados de la vida cotidiana . Estos problemas persisten en los movimientos de protesta y sobre todo los sostenidos por artistas.

Le ayudaremos en la resistencia a la mercantilización.

Nosotros le ayudaremos en su devenir revolucionario.
Nosotros le ayudaremos en el desarrollo de su trabajo transnacional.

La huelga de arte en Nueva York en 1970  llamada Huelga de Arte contra el Racismo, la Guerra y la Represión fue organizada exclusivamente por artistas varones blancos. Esto fue contrarrestado en su momento por las Mujeres Estudiantes y Artistas por la  Liberación del Arte Negro  ( WSABAL ) , que tuvo éxito en la apertura de la acción de protesta a las mujeres y personas de color .

Las Huelgas de Arte sucesivas se han esforzado por llegar a ser más proletarizadas . Cuando hicimos la primera conferencia de trabajadores psíquicos en 2011 durante la Huelga Bienal de Arte  en Alytus , Lituania, hablamos de estos problemas , por lo que se invitó a los trabajadores afro-estadounidenses y sudaneses y dimos charlas en árabe y urdu y ruso y lituano para contrarrestar la hegemonía occidental europea. Allí llegamos a la decisión sobre nuevas actividades:

1 . ataque:

Resaltar la jerarquía - Supresión de puntos de vista - Carrerismo -Racismo estructural institucional  e individual ( lo hicimos en la Bienal de Berlin , documenta13 y Hasselt )

2 . red

Crear espacios alternativos y contra-espacios ( Berlín, Alytus, Minsk)

3 . solidaridad

Conectar con los trabajadores ( psíquicas , destructivos, invisibles, reproductivas) , los inmigrantes, los estudiantes. Lo hicimos en Dakar , Berlín, Hasselt, Douala, Daka , Alytus .


Más tarde y en particular en 2012 revelamos la miseria del concepto de identidad que no es otra cosa sino la extensión del concepto de letra -nombre- nación que se niega a admitir la afiliación de clase en su lugar. En el congreso deDAMTP de 2013 inventamos DesaKalaPatraGraph para vivir colectivamente las identidades en el espacio , el tiempo y la clase y para que así pudiéramos compartir recursos y ayudar a los trabajadores. Pero para ser un verdadero Consejo de Trabajadores Psíquicos debemos hacer contacto con todos los seres vivos en el planeta y más allá.

¿Por qué HDI Uruguay en particular? Porque hemos estado en el HDI de Hasselt en 2012 y vivimos la explotación de los artistas  - que estaban trabajando de forma gratuita sólo por la confianza inercial hacia la ideología de la supremacía blanca  inherente a la institución del arte como tal y con la secreta esperanza de escalarla. La composición de los participantes estuvo claramente marcada por los "valores" eurocéntricos . Mostramos un intento de involucrarnos radicalmente con el tema de la atracción de las comunidades negras de Refugiados e inmigrantes de la diáspora africana para unirlos a nuestra reunión allí en Hasselt, pero fue tomado más bien como una broma , o a lo más como una "obra de arte " de algún tipo . De todos modos tuvimos éxito en hacer contacto con el grupo local de los inmigrantes el cual se  desarrolló en una colaboración personal fructífera. Es fundamental tener en cuenta que los inmigrantes locales consideraron que HDI era  cínico y racista en su núcleo. Muchos de los artistas que participaron en el HDI Hasselt estaban de acuerdo con eso, pero permanecieron obedientes al sistema del arte. HDI Uruguay continúa la línea de esta tradición de convertir los problemas socio-políticos en aún más espectáculo y abstracción para así aumentar el Capital cultural. No podemos reanudarlo en otra forma que la crítica radical que aún falta en el enfoque curatorial de la nueva edición del HDI . Y estamos allí porque HDI Uruguay lleva el nombre - INSIGHT !


El mayor problema en el concepto de este evento fue la universalización y sobre-valoración del papel del arte como mediador social , el cual nunca fue tal y actúa más bien en sentido opuesto .El concepto del evento y su aplicación actúa como simple propaganda  de actitudes neoliberales. Es sintomático que este transporte pasa a los países que por mucho tiempo estuvieron apartados del globalismo de la " cultura formal"  y trabaja en todas partes de la misma manera - la colonización adecuada de mentes tanto de los trabajadores psíquicas  locales , como de la población local convertida en consumidores culturales. Cuando se habla de los inmigrantes hay una presión hacia una  aún máyor ( des-identificación) con la cultura local mediante la resistencia o asimilación a la misma. Nuestra tarea es más acerca de la idea de la invisibilidad y la Desaparición . Y no sólo en el caso de la documentación y su mercantilización - Eso no basta . Hay que añadir que " el arte de performance ", y de hecho los últimos avances de la cibernética han demostrado que, incluso sin la documentación se produce la  mercantilización ... de cada esencia de la humanidad . Lo que Tiqqun y el concepto de Huelga Humana no pueden hacer es desaparecer ellos mismos antes de hacer su llamada a la desaparición . Podemos llamar a esto el culto a la personalidad . Muchas veces en contextos políticos e incluso artísticos se insta a no tomar esto como algo personal , pero al mismo tiempo se nos trata como singularidades - HDI no es una excepción.

Mantenemos la posición de que es sólo por la multitud - es decir, la organización de los trabajadores en todas las industrias que podemos derrocar al Capital - el principal perpetrador de agresión. Su ilusión de declarar que el sistema del arte puede resolver los problemas del sistema : el sistema del arte como un capital cultural es parte del capitalismo en general. El Capital es una abstracción, mientras que lo real es la mano de obra , que es tan menospreciad, especialmente en los cuarteles generales de la "cultura seria" .

Estaremos juntos para atacar el continuo aburguesamiento, la europeización y el racismo inherente en el sistema del arte - y para apoyar a los artistas que desean resistirse a su mercantilización y explotación.

Estaremos contigo en Montevideo y contaremos con que te unas a nosotros. Los veremos a todos  ahí pronto, camaradas!



infoRmación, intEligencia , operatiVos militares :
 trabajadores sOciales,poLíticos y culTurales :

¡Únanse a la unión de
 Mineros de Datos & Trabajadores Psíquicos


We write to you as a fellow workers. We have rejected the role of artist and became the DAta Miners Travailleurs Psychique (DAMTP)

DAMTP has been formed out of the Art Strike Biennial of 2009 via discussions with the Industrial Workers of the World.

Our specific aim at the moment is to attack white supremacy, patriarch and bourgeois culture – shortly we call it eurocentrism. These problems exist in art – one of the many specialized and commodified aspects of everyday life. Those problems persist in the protest movements and especially those held by artists.

We will assist you in resisting commodification.

We will assist you in your revolutionary becoming
We will assist you in developing your work transnationally

The art strike in 1970 New York Art Strike Against Racism, War and Repression was organised by exclusively white male artists. It was counteracted at the time by Women Students and Artists for Black Art Liberation (WSABAL), who succeeded in opening the protest action to women and people of colour.

Successive art strikes have strived to become more proletarianised. When we held the first psychic workers conference in 2011 at the Art Strike Biennial in Alytus, Lithuania we discussed these problems and therefore invited Sudanese and African American workers – we gave talks in Arabic and Urdu and Russian and Lithuanian to counteract western European hegemony. There we got to the decision on further activities:

1. attack:

highlight hierarchy - supression of viewpoints - careering - structural individual and institutional racism ( we did it in Berlin Biennale, dOCUMENTA13 and Hasselt)

2. network

create alternative and counter spaces (Berlin, Alytus, Minsk)

3. solidarity

connecting with workers (psychic, destructive, reproductive, invisible etc), immigrants, students - we did it in Dakar, Berlin, Hasselt, Douala, Daka, Alytus.


"Существует интересная легенда, что на месте теперешней Абиссинии было болото, и людям, живущим в этой местности, постоянно нужно было пробираться через грязь и трясину. Их одежда и кожа становились темного цвета, что делало их похожими на жителей Эфиопии (Абиссиния - устаревшее название Эфиопии). Вероятно, поэтому этот район города назван именно так."

"There is an interesting legend that at the present location of Abyssinia was a swamp, and for the people living in this area, it was necessary to constantly wade through mud and quagmire. Their clothes and the skin becomes dark in color, making them look like the inhabitants of Ethiopia (Abyssinia - the old name Ethiopia). Perhaps that is why this area is called so the city (Mogilev, Belarus). "

it was good to see Naomi's article - and that it is up on the alytusbiennial site - it expands on the debates around the art strike and looks to ways forward which is very much welcomed by us.

we have some thoughts on this - and on the similarities and differences between us and Tiqqun.

instead of "similarities" and "differences" maybe we should say points of WAHDAT and KATHIRAL.

in fact Tiqqun would say "singularity" and "multitude" where we would say "union" and "multitude".

we have of course argued against the idea of singularities when addressing Bifo previously

i should add that we use "we" in the same way as tiqqun - as a position. but for me the slipage between i and we must be allowed to be made as we move in the trimension of Class, from Letter to Name to Nation/narration and to Situation.

but the main point i want to make is about the idea of invisibility and disapearence. Naomi looks mainly i think at documentation and its comodification. but it must be added that "performance art" and indeed recent developments of cybernetics have shown that even without documentation there is comodifiction. of every essence of humanity.


طالبان کے

مطالبات کے
رحمت علی
چودھری کے
عرس سے

دن کے بعد دن
انتظار کر
رہے ہیں. وہ
اپنے وقت کے
لئے انتظار،
کارکنوں کے
طور پر، یہاں
تک کہ پرانے.
وہ سب کے سب،
مطمئن ہیں وہ
لوگ جو اور
عکاسی وہ لوگ
جو انتظار.
گزشتہ لوگوں
کے طور پر ایک
ہی غلطی نہیں
کریں گے کہ
کی ایک نئی
قسم ہے، ایک
قوت، وہ کا
حصہ ہو گا کچھ
پیدا کرنے کے
لئے کے لئے وہ
انتظار کر
رہے ہیں. وہ
ایک بار ماضی
سے چھٹکارا
حاصل کرنے کے
لئے ایک موقع
کے لئے اور سب
کے لئے
انتظار - کچھ
نیا شروع
کرنے کے لئے.

ہم شروع کر
دیا ہے.

[….scroll down for deutsch] 

You’ve got a very soft vision of art

You’ve got a deficit disorder of heart

These are the wings of an endangered drum pattern

This is the flight of the hapless, you’ve got it all backwards

DJ Krush

To consider the abysmal nature of the profession of the artist is a complicated process that cannot be dealt with in a couple of sentences. Therefor we will only discuss in which way individual actors conceive and implement their departure, how “break-aways” from the existing art systems are argued and formalized and in where the potential of such a gesture can lie. The word *strike* is not to be understood as a means of creating pressure in the context of a (de facto non-existent) labor conflict, but rather as a pattern of political action that some of the artists named below relate in their performative works.

Motives for the departure from art are conceptual as well as material in nature, and in many cases a combination of both. In order to formulate a somewhat distanced critique of the art system as such, it might be more convenient to focus on the critical artistic statement only, leaving the personal situation of the artist, the struggle for making a living or social recognition and reward, aside. There have been singular cases where quite materially successful artists took the consequence of leaving the art scene because of their critical understanding of the institution of art. But with the emergence of a somewhat inflationary trend towards „critical art practice“ on the other side, a whole new range of opportunities opened up for those positions that before would have subsisted at the very margins of the art scene.

However, a pure ideological or institutional critique, that which ignores social and economical conditions, and the subjective “suffering” of the silenced majority, would miss the core of the matter. It is at the same time a concern to abstract also from the specific interests of the actors within  the art industry, in order to highlight tendencies that reflect the wider structural transformations of contemporary society.

The problem of the participation is many-sided and departures from the scene can only be individually argued. Nevertheless, it is clear to all that the unhappiness in this career has a direct connection to economical insecurity. And yet it appears the image of the organized collective labor struggle is un-connectable with the features of the field of labor and the self-conceptions of the protagonists. From now on it is certain, that within the cognitive factory of the culture-worker other forms of protest will have to be invented, and for now the idea of the strike will be only a slogan, a placeholder for the new collective ritual of placing themselves in the right.

The outlook appears rather bleak, the “Complaining on a Higher Level” makes up the majority of the conversations between colleagues: the genius is starved, the atelier is reduced to the size of a monitor, the work-day parceled into distinct work fields and is therefor endless, and the market of attention asks for online-portfolios of our tastes, within which our perversions as well as political inclinations, social contacts or consumer preferences are cultivated and curated. The material subsistence happens between unskilled labor in the low-income-sector and the exploitation of soft-skills – learned in the training camps of the cultural network-job, only to finally be sold out on the desktops of the creative economy.

Depression and clinical symptoms are increasing as a result of the changing job market, for which the culture-sector with its precarious agreements progresses. [1] Before our faces, the pyramid-structure of the field is erected, in which the great majority of participants find no living: stiff competition and secret selection-mechanisms generate the success of the circa 2% of all art college graduates who “make it” (what exactly?). There is no shortage of reasons for a mass walk-out from the culture-sector. The negligence of art happens on multiple and contrary ways, in many recognized and exalted exit-scenarios of some established artists – and far more often simply by gradually letting go, in not so clearly observable, addressable moments of countless biographies. It shows in the statistics – in case any official organization would even undertake the effort to collect the data. In these moments when you are not really able to answer when being asked about your profession. In the burnt out space between the last project and the next funding application, or in the mill between meaningless hourly-work and the unused atelier, and so on.


Kauno antifašistai kviečia prisijungti prie protesto prieš LTJS eitynes.
[scroll down for English and Russian versions]

Vasario 16-ąją Lietuvos tautinio jaunimo sąjunga (LTJS) Kaune organizuoja tradicines eitynes: prisidengę trispalvėmis skleidžia ksenofobiškas, rasistines, homofobiškas ir seksistines idėjas. kolektyvas kviečia visus, nepritariančius teiginiui “Lietuva - lietuviams” prisijungti prie protesto prieš LTJS. Eitynių metu, 15val. antifašistai ir jiems prijaučiantys renkasi Miesto sode (priešais Kauno miesto savivaldybę).

Nors eitynių dalyviai, taikydamiesi prie kintančio politinio klimato, nusiplėšia nacistinius antsiuvus, nebekilnoja dešinės rankos ir neberėkia antisemitinių šūkių, pagrindinė jų žinutė išlieka: Lietuvos teritorija ir diskursas priklauso baltam grynakraujui heteroseksualiam vyrui - arijui, o likusieji gali tik jam pritarti ir prie jo prisitaikyti arba nešdintis iš čia. Bet kas, kas priešinasi vieninteliam “teisingam” pasakojimui, turi būti prijaukintas arba sunaikintas. Valstybės atkūrimo dieną, kurią tarpukariu kartu švęsdavo lietuviai, žydai, rusai ir vokiečiai, į Kauno gatves pasipils fašistai su šūkiais “Ne rytams ir vakarams, Lietuva - Lietuvos vaikams” bei “Lietuva lietuviams”. Pasėję baimę Laisvės alėjoje ir Vilniaus gatvėje, vakare jie rinksis į koncertą, kuriame tarp kitų koncertuos ir “baltųjų pasipūtėlių” (White Pride) grupė “Baltas triukšmas”. kviečia nelikti abejingiems fašizmo problemai. Naiviai tikintis “nekelti įtampos” ji neišnyks - vienintelis efektyvus būdas kovoti su fašizmu yra aktyviai pasisakyti prieš jį ir parodyti ksenofobams, kad Kauno gatvėse jie nėra pageidaujami. Ypač kviečiami prisijungti tie, kuriuos nacionalistai yra niekinamai išvadinę “žydrais, juodais, raudonais ir taboro čigonais” - LGBTIQ asmenys, Lietuvoje gyvenantys nelietuvių tautybės žmonės, visi pritariantieji kairiosioms idėjoms.

¡No pasarán!


Did you know many African countries continue to pay colonial tax to France since their independence till today!

When Sékou Touré of Guinea decided in 1958 to get out of french colonial empire, and opted for the country independence, the french colonial elite in Paris got so furious, and in a historic act of fury the french administration in Guinea destroyed everything in the country which represented what they called the benefits from french colonization.

Three thousand French left the country, taking all their property and destroying anything that which could not be moved: schools, nurseries, public administration buildings were crumbled; cars, books, medicine, research institute instruments, tractors were crushed and sabotaged; horses, cows in the farms were killed, and food in warehouses were burned or poisoned.

The purpose of this outrageous act was to send a clear message to all other colonies that the consequences for rejecting France would be very high.

Slowly fear spread trough the african elite, and none after the Guinea events ever found the courage to follow the example of Sékou Touré, whose slogan was “We prefer freedom in poverty to opulence in slavery.”

Sylvanus Olympio, the first president of the Republic of Togo, a tiny country in west Africa, found a middle ground solution with the French.

He didn’t want his country to continue to be a french dominion, therefore he refused to sign the colonisation continuation pact De Gaule proposed, but agree to pay an annual debt to France for the so called benefits Togo got from french colonization.

It was the only conditions for the French not to destroy the country before leaving. However, the amount estimated by France was so big that the reimbursement of the so called “colonial debt” was close to 40% of the country budget in 1963.

The financial situation of the newly independent Togo was very unstable, so in order to get out the situation, Olympio decided to get out the french colonial money FCFA (the franc for french african colonies), and issue the country own currency.

On January 13, 1963, three days after he started printing his country own currency, a squad of illiterate soldiers backed by France killed the first elected president of newly independent Africa. Olympio was killed by an ex French Foreign Legionnaire army sergeant called Etienne Gnassingbe who supposedly received a bounty of $612 from the local French embassy for the hit man job.

Olympio’s dream was to build an independent and self-sufficient and self-reliant country. But the French didn’t like the idea.

On June 30, 1962, Modiba Keita , the first president of the Republic of Mali, decided to withdraw from the  french colonial currency FCFA which was imposed on 12 newly independent African countries. For the Malian president, who was leaning more to a socialist economy, it was clear that colonisation continuation pact with France was a trap, a burden for the country development.

On November 19, 1968, like, Olympio, Keita will be the victim of a coup carried out by another ex French Foreign legionnaire, the Lieutenant Moussa Traoré.

In fact during that turbulent period of African fighting to liberate themselves from European colonization, France would repeatedly use many ex Foreign legionnaires to carry out coups against elected presidents:

  • - On January 1st, 1966, Jean-Bédel Bokassa, an ex french foreign legionnaire, carried a coup against David Dacko, the first President of the Central African Republic.
  • - On January 3, 1966, Maurice Yaméogo, the first President of the Republic of Upper Volta, now called Burkina Faso, was victim of a coup carried by Aboubacar Sangoulé Lamizana, an ex French legionnaire who fought with french troops in Indonesia and Algeria against these countries independence.
  • - on 26 October 1972, Mathieu Kérékou who was a security guard to President Hubert Maga, the first President of the Republic of Benin, carried a coup against the president, after he attended French military schools from 1968 to 1970.
In fact, during the last 50 years, a total of 67 coups happened in 26 countries in Africa, 16 of those countries are french ex-colonies, which means 61% of the coups happened in Francophone Africa.

asemic international. 2014.02.13asemic international1. 2014.02.13


We are the union of psychic workers - in solidarity with reproductive workers, productive workers, non-productive workers, dead and non existent workers everywhen - we call on all destructive workers to join us and arrest the Cambridge masons at their meeting on 7th January, 2014.

We write in solidarity with the 15 soldiers from 1st Battalion the Yorkshire Regiment who were jailed for disobeying an order to stand up during a parade at Archers Post, a British Army Barracks in Kenya. The soldiers took this unprecedented action in refusal to capture local people and hand them over for torture. This shows that even destructive workers - not just productive workers - can unionise against the bosses, in solidarity with other workers. We call on you to do the same.

The Cambridgeshire and Peterborough Clinical Commissioning Group (CCG) is meeting at  the Cambridge Masonic Hall on Tues 7th Jan at 1pm in order to arrange how the NHS is to be sold off to private companies - Serco the notorious \"government services\" firm has been involved in negotiations.

While we agree with the broad aims of the “STOP THE NHS SE££-OFF” in connecting trade unions and community groups we do not think that such an alliance can go beyond the roots of freemasonry. We need new radical unions – of one or more persons – to completely unionise all of society – from reproductive workers to destructive workers. We therefore call on you to organise as workers even if only with yourself – but hence with all workers on the planet and beyond – to shut down the anti workerist organisations of the freemasons not just of the present and oppressive past but also of the future.

The first and most salient fact about the Freemasons of the Future is that they do not exist. However they are sentient beings trying to struggle into existence. From their perspective they are involved in a life and death struggle to ensure their own past, some of which we perceive as the present. Located in the distant future after time travel has become common place they endeavour to sojourn into what they regard as history to create the conditions which they consider as necessary for their own existence. But this does not mean they are going to be successful. They justify their existence upon their existence, which they consider self-evident. The current conditions of life are to be extrapolated into the future until every quanta of human activity has been commodified: from genetic engineering to nanotechnology, the search for profitability is projected in every conceivable way. A world where sentient scraps of human biology exist as islands of wetware within the framework of vast cathedrals of computerised electronics. The distinction between human, animal and machine is dissolved as these products of bio-engineering are installed to fulfil operative functions within a nauseous system developed to do nothing but to manifest continuously expanding value. Whether we can regard such creatures as our offspring, or whether they are simply genetically engineered mutant beings created out of this or that strand of DNA is perhaps beside the point. This is the nightmare world to which we are heading, and which would provide the sort of massive bio-computer needed by the Freemasons of the Future to realise their greatest desire: unequivocal existence. Faced with this onslaught which we can see around us, as all barriers to genetic engineering and the conversion of existence into docile information are torn down one by one, how can we respond? The class struggle now manifests itself in dimensions which have recently been invaded by the process of industrialisation: from the industrialisation of the imagination, through television, to the industrialisation of knowledge through the internet, the information age continues to build on the ‘achievements’ of the Age of Steam, the Age of Petrol and the Atomic Age. The current episode we are living through is rattling asunder as the
ripples of the Quantum Time Bomb1 penetrate the deepest recesses of human activity.

Cambridge Lettrist and Situationist Society (CLASS)
DAta Miners Travailleurs Psychique (DAMTP)


[Denis Limonov invites Moscow artists for a 3-year-long Art Strike - particularly oriented against „progressive“ biennials as Alytus Art Strike and Manifesta 10 - since the January 1st, 2014 through January 1st, 2017]

Я призываю всех московских художников к забастовке: отложить свои инструменты и приостановить свою работу — представлять, продавать, показывать или обсуждать свою работу посредством галерей, музеев, агентств, альтернативных мест, периодических изданий, театров, художественных школ, организаций, фондов и медиа, обслуживающих интернациональную арт-систему, в период с 1 января 2014 до 1 января 2017.

Производство искусства мистифицировано и поглощено рынком, а деятели искусства оказались манипулируемыми и маргинализированными из-за самоидентификации с термином “художник” и всем тем, что подразумевает это понятие. Назвать кого-либо художником значит отрицать за другим возможность равного дара видения; таким образом миф о “гении” становится идеологическим оправданием неравенства и подавления. То, что художник считает своей идентичностью – всего лишь набор школьных приемов: предвзятых мнений, которые исторически порабощают человека. Я говорю о «художественной забастовке», чтобы сделать явными наши политические и этические побуждения, и не влипнуть в возможную эстетизацию предметов и отношений, чтобы обозначить и поддержать активную вовлеченность, а не пассивные обязательства, по отношению к самым неотложным проблемам.

Подобно любой всеобщей забастовке, настоящие причины, которые необходимо   обсуждать – это экономика и само-определение, невозможное в органах транснационального глобализированного капитализма и его продолжении в форме различных «прогрессивных» институций таких как международная алитусская биеннале ArtStrike или международная биеннале современного искусства Manifesta 10.