Marina Vishmidt, Melanie Gilligan, Lise Soskolne, Shawn(ta) Smith-Cruz and Silvia Federici lead a discussion around the value relations of art production, and what kinds of (feminist) value-critical politics can create transversal connections between crises in the different spaces where we practice.

"Departing from the challenges posed to value as it is reproduced in the spaces of art as in the political economy at large, we want to focus on how those challenges can and have been formulated through practices of collectivity, poetics, feminism, de-coloniality, technology and politics around race. The labor of reproduction and a non- or alter-reproductive futurity are close parameters here. Three main approaches to value will be pursued: conceptual, economic and the living-deathly of identity categories. "

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On value

Silvia Federici, Melanie Gilligan, Shawn(ta) Smith-Cruz,
Lise Soskolne / W.A.G.E., Marina Vishmidt

Talks & Discussion
Saturday, October 3

Day session: 11am – 5pm
Evening roundtable: 7pm

Artists Space Books & Talks
55 Walker Street

$5 Entrance Donation
Members Free, Guaranteed Entry

Silvia Federici is a New York-based scholar, teacher, and organiser. She is a professor emerita and teaching fellow at Hofstra University, where she previously worked as a social science professor following many years of teaching in Nigeria. Amongst her many roles, Federici co-founded the Committee for Academic Freedom in Africa and the International Feminist Collective. She has organised with the Wages for Housework campaign, and was involved with the Midnight Notes Collective. Federici’s best known work, Caliban and the Witch: Women, the Body and Primitive Accumulation, argues that primitive accumulation is a fundamental characteristic of capitalism.

Melanie Gilligan is an artist and writer based in New York and London. The Common Sense, Gilligan's latest episodic video work is a three-part project presented across multiple institutions. The final installment is presently on view at de Appel Arts Center, Amsterdam, following exhibitions at Casco Office for Art, Design and Theory in Utrecht and De Hallen Haarlem. Previous solo exhibitions include Chisenhale Gallery, London; Kolnischer Kunstverein, Cologne; Banff Centre, Banff; and Galerie Max Mayer, Dusseldorf. Gilligan’s critical writing on art, politics and economics has appeared in publications such as The Market (Whitechapel), and Immaterial Economies (Fillip), as well as in journals and magazines including Grey Room, Artforum, Texte zur Kunst, and Mute magazine.

Shawn(ta) Smith-Cruz is a separatist, zinester, archivist, writer, and black-dyke-participant of intentional, community-specific, collective spaces. A coordinator at the Lesbian Herstory Archives, and collective member of WOW Cafe Theater as producer of women of color theater, namely, Rivers of Honey, Shawn is Head of Reference (appointed as Assistant Professor) at the Graduate Center, CUNY. From (the people’s republic of) Brooklyn, Shawn founded the Queer Housing Nacional List, and has since purchased a home designated for queer women of color (QWOC) with her wife in the Bronx. A board member of Fire & Ink, a national organization for LGBT writers of African descent, and founder of Lambey Press, independently publishing QWOC; Shawn is current collective editor of a special issue of Sinister Wisdom: A Multicultural Lesbian Literary & Art Journal: Honoring the Michigan Women's Music Festival.

Lise Soskolne is an artist living in New York and core organizer of Working Artists and the Greater Economy (W.A.G.E.), an activist organization focused on regulating the payment of artist fees by nonprofit art institutions. An organizer within W.A.G.E. since its founding in 2008 and its core organizer since 2012, she has also worked in nonprofit arts presenting and development in New York since 1998 at venues that have included Anthology Film Archives, Artists Space, Diapason Gallery for Sound, Meredith Monk/The House Foundation for the Arts, Participant Inc, and Roulette Intermedium. In 2007 she was hired to use artists to increase the property value of Industry City, a 6.5 million sq ft industrial complex on the South Brooklyn waterfront. There she founded and managed the arts component in its broader regeneration with the intention of establishing a new paradigm for industrial redevelopment that would not displace workers, artists, local residents or industry but would instead build a sustainable community of working artists in a context that integrated cultural and industrial production.

Marina Vishmidt is a London-based writer occupied mainly with questions around art, labour and value. She is the author of Speculation as a Mode of Production (Brill, forthcoming) and A—Autonomy (with Kerstin Stakemeier) (Textem and Mute, forthcoming). She also works regularly with Anthony Iles and with Melanie Gilligan. She collaborates with artists and contributes to journals such as Mute, Afterall, Texte zur Kunst, and the South Atlantic Quarterly, as well as co-/edited collections and catalogues,most recently Anguish Language (Archive Books, forthcoming). She is part of the Theory faculty at the Dutch Art Institute, a visiting lecturer at the University of Brighton, and has taught at the University of the Arts in Berlin, Central Saint Martins, and Goldsmiths.

This public event is part of We (Not I), a four-day program of discursive meetings, presentations, and events that brings together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015.

Artists Space would like to thank Thea Westreich Wagner and Ethan Wagner for their gracious support of WE (Not I) in New York