Trojan Horses in the Chinese Countryside: Ou Ning and the Bishan Commune in Dialogue and Practice
BRING ONE EXAMPLE TO THE TABLE
During an intense KUNO express course (March 18 - 22, 2024), everyone was asked to bring an example to the table, an endeavour, an undertaking, a business model, a project worth having a closer look, potentially inspiring. Expanding below are 16 examples from across the world, selected and presented by Namata Birungi Tereza Maria, Polina Bobrova, Agneya Chikte, Paul Cortot, Olivia Heinonen, Kaisa Nele Hendla, Uku Jürgenson, Elizabeth Keen, Yuko Kinouchi, Oliver Doré Kongstad, Orestis Mavroudis, Ida Marie Meyer Erichsen, Marc Pricop, Joonas Pulkkinen, Theresa Schadenhofer, Hampus Sjöberg. Plus some spiraling associations. Follow the dots and links (in red).
Report: Harvesting Sustainable
How can urban agricultural be an integral part of stormwater management in Detroit?
KGD & Drummond Carpenter
Our 1556 acre farm in Georgia must be viewed as the catalyst for the development of our sustainable food and fiber production system. Muhammad Farms is situated on a 1556 acre tract in Southwest Georgia redeemed by Minister Louis Farrakhan in 1995 for the Three Year Economic Program. It is part of a larger 4500 tract of land which the Honorable Elijah Muhammad purchased in the 1960’s.
The Protagonists of the Future are Small Farmers
on: Weird Economies Weird Economies (W.E), is a journal, programming space and social experimental site that traces economic imaginaries extraordinary to financial arrangements of our time. W.E takes on an expanded chrono-political strategy, wherein past (vindication), present (location), and future (fabrication) are commensurable grounds for the extrapolation of weird—and weirder—economies.
If we understand hosting as power, what does that mean for the powerless?
Reflecting on her experiences with refugees in Boden, North Sweden, Sandi Hilal speaks of the passivity and agency of refugee lives and cultures as they navigate the manifestly European distinctions of the public and private space. How do refugees see themselves as political subjects who are in the position to demand and transform the societies they have become a part of? What stake do they have in these conversations? How does art open new and radical forms of transformative collectivity that focus on the multiplicity of cultures that refugees have? For Hilal, hosting and the extension of hospitality to strangers create a self-representational space where refugees can practice and shape their own agency.
EKKM / Contemporary Art Museum of Estonia
In 2024, EKKM garden is celebrating its fifth season. Our freshly united community of gardeners will join in building an outdoor kitchen, as well as generating a programme of workshops and events. If you’d like to become a member of the gardening community, drop a note at aed@ekkm.ee! The head gardener in 2024 is Brigit Arop.
Cork Fabric in Spain & Portugal
What is cork fabric and how to make it?
CURRENT Athens is an online platform for the non-hierarchical promotion of contemporary art.
PUNGWE is conceived as a series of ‘post-art’ driven ephemeral collective encounters, that challenge how we think, see and importantly how we hear the world around us with its complex power relations. With a mutable team from project to project, under the leadership of Robert Machiri Pungwe engages with social, political and economic concerns through explorations that are performative and sonic.
Making Art Work proposes an experimental role for the institution as administrators of economic stimulus for artists. Drawing on the historical model of the Roosevelt administration’s New Deal Federal Art Projects of the Great Depression, this expansive project reimagines the idea of ‘relief measures’ for artists working in the 21st century.
Taking place across 2020—during and post COVID-19 lockdowns—the project will see over 40 artists create new works that reinforce the importance of creative labour in a time when the cultural and economic value of art has been diminished. Drawing from the politicised language of our current crisis, each artist has been asked to respond to the provocations posed by four curatorial pillars; Unprecedented Times, Industrial Actions, Permanent Revolution, and Relief Measures.
“What I’ve discovered is that in art, as in music, there’s a lot of truth—and then there’s a lie. The artist is essentially creating his work to make this lie a truth, but he slides it in amongst all the others. The tiny little lie is the moment I live for, my moment. It’s the moment that the audience falls in love.” Lady Gaga quoted in VANITYFAIR
