On September 21-22, 2012 in Alytus (Lithuania) DAMTP self appointed curator Chus Martínez calls for meeting of the non-productive psychic workers and data miners, unproductive dead workers, life reproductive workers and cleaners (industrialized and non-paid ones) to discuss strategies to strike against bourgeois culture and to celebrate it‘s agonies due to vanishing access to production of whitewashing, light and stylistics.

1. colonization-decolonizaton-recolonizaton of mind as raised by "postcolonial" African writers and getting very actual for the rest of the world at this moment

2. psychic colonialism

3. structural racism inherent in white eurocentrist culture

4. debienializationist international/// [not sure, but might be] respond to the planned biennalization international to be held later this year in the end of october -  http://www.worldbiennialforum.org/ - suming up the activities to hack the possibly mostly eurocentrist feature of contemporary colonization of mind - biennialization of the world

5. Prolegomena for the new issue of an art strike biennial for the year 2013.

6. the issues of immigrants...what does [cultural] integration means?


Psychic de-colonization/ Psichodekolonizacija

DAMTP meeting/conference/discussion

September 21st – 22nd, 2012, Alytus

Location: Alytus Art School, Darius & Girenas str. no. 25, Alytus, Lithuania




As I said we are not interested. Furthermore, please refrain from now on from claiming any link to the IWW. You have no such recognised links. We do not recognise any IU007/700 or IU000 in our structures nor have we ever chartered any such structures.

If you do not refrain from sending us messages we will block your email. If you do not refrain from claiming illegitimate links to IWW, we may take action.

Thank you

Chus Martínez  is a name that refers to an individual human being who can be anyone. The name is fixed, the people using it aren’t. The name Chus Martínez can be strategically adopted for a series of actions, interventions, exhibitions, texts, etc. You can use the name Chus Martínez when involved in making art, making music, or just making trouble as an activist. The purpose of many different people using the same name is to create a situation for which no one in particular is responsible and to practically examine western philosophical notions of identity, individuality, originality, value and truth.

Anyone can become Chus Martínez simply by adopting the name. When one becomes Chus Martínez one’s previous existence consists of the acts other people have undertaken using the name. When one becomes Chus Martínez one has no family, no parents, no birth. Chus Martínez was not born, s/he was materialised from social forces, constructed as a means of entering the shifting terrain that circumscribes the ‘individual’ and society. Chus Martínez is a transsexual collective phantom.


Organ Kritischer Kunst (OKK, Berlin) Team has researched the new waves of the Art Establishment in the "probably most creative city in the world (at least in the continental part of Europe)" as manifested by the Berlin Biennale 7 (BB7; 27.04-01.07). OKK hosted the event entitled "2012 IS THE SEASON FOR TREASON" parallel to the BB7 (27.04-13.05) in order to expose the outcomes of their research into the biennale, but also to provide the space for discussion of the crypto-fascist ideology and tactics in the broader social context. On Friday 20th July, OKK presentation "Biennialization of political art" will draw on their "2012 IS THE SEASON FOR TREASON" and specify its relationship to the dOCUMENTA (13), which is currently occupying the city of Kassel.


from POT press release about the Rosa Luxemburg Stiftung Hessen event “Biennialization of Political Art”


1) “Borderless” documenta


According to dOCUMENTA (13) curator Carolyn Christov-Bakargiev, the Italians are coming back to this largest German contemporary art festival in 2012, after somewhat little presence of this nationality in the recent shows. Apparently they are coming back with a full blast in the style of 1930s! Sadly, both Berlin Biennale 7 and dOCUMENTA (13) rely on the nationalist and ethnic conceptions of identity. Simultaneously, Italian presence in documenta is the very element which allows this anti-concept concept re-conquest Afghanistan (2012 documenta takes place in Kassel, Germany; Cairo, Egypt; Banff, Canada and Kabul, Afghanistan). Carolyn Christov-Bakargiev is an Italian and American writer, art historian and curator, sporting philosophy suitable for German domestic and foreign cultural policies. According to Emily Nathan from artnet.com:


One might wonder why on earth Carolyn Christov-Bakargiev, the curator of Documenta (13) in Kassel, Germany, June 9-Sept. 16, 2012, would choose to hold two years of art lectures and workshops in the war-torn country of Afghanistan. The Afghan Seminars, as they are called, took place between 2010 and 2012 in collaboration with the Goethe-Institut Afghanistan, the Afghanistan Center at Kabul University and a host of other cultural institutions -- and considering the current conditions of the country’s social and political landscape, such a decision might seem naive, or even dangerous.[1]


Ironically, the very personality who was used in order to let documenta expand through German borders is probably the most globally famous contemporary art curator with a background in Africa. Nigeria-born Okwui Enwezor was the star of dOCUMENTA (11) in 2002. Enwezor is a son of a businessman, a probable reason for his class-determined understanding of post-colonial international relations which had made way for “non-occidental” cultures forming the core of the whole show.[2] While this might sound positive or in some way progressive, “the ultimate cosmopolitan” seems to have internalized the concept of art with its typical colonialist bias. Formulaic “phenomenon” of similar basis is described in Roger Taylor's 1978 book “Art, an Enemy of the People”, where author speaks about the historical founding of Jazz:


I have now said something about the social context in which a certain social project was lived out. A set of simplifying contrasts help to clarify my meaning. Being white, an encapsulated in New Orleans social experience, was bringing blackness into whiteness, and thereby obtaining some release from being white, but at the same time not being black and remaining white. The project was contradictory, it was to be white, but not be white and to be black, but not be black (all of this from the standpoint of those who were white), it was to bring blackness into whiteness as a whiteness but at the same time that which entered as a whiteness had to be a blackness.[3]


Two years after our last message (http://circuit47.com/mediawiki2/index.php?title=TOWARDS_A_INDUSTRIAL_UNION_OF_PSYCHIC_WORKERS_007/700) calling for the formation of an industrial union of psychic workers we send psychic solidarity support to the most successful proletarian FWs (in terms of workers struggle and internationalism) of the Cleaners Union and Latin American Workers Union for organising on whatever grounds they see fit as is the aims of the IWW. The BIRA statement (http://iww.org.uk/node/771) against the cleaners workers does not make sense as the IWW does allow workers to dual card also and we do not see the union as a political party to be centrally controlled but rather as a tool of proletarianidation and step towards workers councils - as such the statement stinks of the bullshit bollocks of Bolshevism and Bakuninism

However we must state our own differences with the "Industrial Workers of Great Britain" - the union that the FWs of the IWW Cleaners union are now also using - not least that we do not recognise Great Britain as a legitimate entity. The IWGB makes a similar error to the IWW with regards to their indusrtriual union structure as can be seen in their old graphic: http://upload.wikimedia.org/wikipedia/commons/0/0d/Class_battle_fronts_diagram.jpg