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Questions of Value - From Commons to Communomics: Resisting Privatization

 

Someone has to do it. If we are to think through structures of evaluation, even momentarily, we have to grapple with money. Money represents only %2 of the financial value in circulation, and yet nestles in every pocket, purse or consciousness. Nationally denominated monies – that store, easily transfer and index wealth - have overwritten alternatives. I’m learning to invest in the future, and to speculate. A future for money will explore micro-currencies that circulate value in specific communities, to resist State expropriation. And macro-monies, commons based currencies emerging in networks of trust, coproduction and abundance that existed before, and will flourish again, as faith in States and their currencies, evaporate.

Sculpture classWe began, students, staff, experts and others as Exhibition Experiments. The initial idea was, through collaboration and practice based research, to trace a history of radical exhibitions, and make an exhibition. Through weekly seminars, workshops and events our project morphed into prospectus, as our interests incorporated art education, and our own experiences of trying to perform it. 

I was recently asked for material about Collected, this is almost all I have..... I conceived and curated Collected, it was coordinated by The Photographers Gallery, London in 1997. This account is from a reassembled guide..

 

Shift/WorkDevised and convened by Neil Mulholland, with Dave Rushton Institute of Local Television, I contributed to......

Shift/Work: Developing participatory workshop models for educating contemporary artists.

Studio C02
School of Art, University of Edinburgh
74 Lauriston Place
Edinburgh

Shift/Work is an ongoing knowledge exchange between the School of Art, University of Edinburgh and Edinburgh Sculpture Workshop that develops and shares open educational resources for artists and art educators. The purpose of this workshop is to enable its participants to develop their own models of collaborative practice-based learning.

Thursday 29 March 2012
University of Westminster, London

I contributed a presentation on Parade to Digital transformations, a research project that explores how cultural organisations contribute to new environments. Environments in which communities of participants interact to create, curate, organise and support their own cultural experiences.

 

Rene Gimpel
GIMPEL FILS
30 Davies Street
LONDON W1Y 1LG

Tel: 020 7493 2488                                                                      28th January 2003

 

Dear Rene Gimpel,

Please find enclosed the text of a lecture which I think belongs to you, I found it on a lectern at Chelsea College of Art and Design; as you will see it has been annotated by me.

I should like to explain that I gave the lecture on your behalf, in fact as you, at the Royal College of Art on the 24th January 2003. I was invited to speak about my work as an artist, but during my preparation I read your lecture and began to think how appropriate it would be, not to talk about my practice but to perform it in some way. So, I announced just before the lecture, that Neil Cummings was unable to attend due to a personal crisis, and that I, Rene Gimpel had agreed to stand in at the last moment.

I then read your lecture verbatim, using a selection of my own slides as accompaniment.

The Stuff That Matters Textiles collected by Seth Siegelaub
1 March to 6 May 2012
 

ValueCampOn Saturday 3rd March I visited Raven Row to see the exhibition of historic textiles collected by Seth Siegelaub over the past thirty years, for the Center for Social Research on Old Textiles (CSROT).

It was a thrilling to see, and read about the history of woven, printed textiles and embroideries from fifth-century Coptic to Pre-Columbian Peruvian, late medieval Asian and Islamic textiles, and Renaissance to eighteenth-century European silks and velvets, even Barkcloth (tapa) from the Pacific region (image left: tapa from Papua New Guinea) and Africa.

Its thrilling because, many of the fabrics are not behind glass. You could, although discrete signage encourages you not too, reach-out and touch them. This proximity to stuff, and the trust implicit in its exhibition, is thrilling

The headdresses are amazing!

images

photographers photographing#TransActing Ezio Manzini#TransActing stalls#TransActing repurposedCarmenIslamic wall tile