Intangible Economies, edited by Antonia Hirsch


Treating the idea of an economy as a general system of exchange, Intangible Economies advances the idea that personal relationships are produced by economic activity and that desire generates economic transactions. Intangible Economies speculatively investigates the role that these “affective transactions” play in modes of representation and cultural production. The abstract and abstracting function of value itself becomes particularly significant in this constellation, in its relation to both capitalist economy and ethics. First developed for a 2011 conference in Vancouver, the essays included in this anthology seek to tackle the difficult task of tracing the role of affect in economic exchanges relative to artistic production, while also enacting the unruly force of such transactions.

The contributing essayists are Melanie Gilligan, Juan A. Gaitàn, Hadley+Maxwell, Candice Hopkins, Olaf Nicolai, Patricia Reed, Monika Szewczyk, and Jan Verwoert.

Link to Antonia Hirsch's introduction
Link to Filip Editions
Link to the event in Vancouver


Care Of Edition


Care Of Editions is a label that pays people to download the music we release with profits made from selling the same albums on vinyl. As more records sell, more downloads become available, and for larger sums. The amount of money is always tied to the download number, so it keeps going up until the edition is sold out: from one to forty-five dollars, which is funded by an edition of 118 vinyl. Payments are sent as checks from the Swiss postal bank and printed in the local currency of the recipient so they can be cashed at the post office free of charge. The website is measured by the length of our current digital inventory, so as downloads go out of stock, the website starts to disappear.

Link to Care Of Editions
Link to the essay 'Negative Money: Care Of Edition', written by Gerhard Schultz




Council brings together a laboratory for artistic research (the inquiries), a program for the production of artworks, and a fellowship. These activities construct a network of people and institutions linked to the arts, the sciences and social engagement. 

About Council:

A council practices the art of assembling people in order to decide how to act for themselves and for those they represent. Councils are common to different cultures around the world, and are practiced at different levels of society - the family, trade unions, states, militant groups, businesses, and religious communities. Shared by all, council is an activity from which may emerge new forms of political representation.

Founded in 2013 by Grégory Castéra and Sandra Terdjman, and animated by a network linked to the arts, science and social engagement, Council develops an artistic institution born out of the art of council. Today, Council brings together artistic research laboratory (the inquiries), a program for the production of artworks, and a fellowship.

Introducing the arts in domains that do not fully recognize its legitimacy, composing the arts with sciences and civil society, and staging new forms of council: Council tests the hypothesis that the evolution of political representation implicates aesthetic operations.

Council acts in the long-term and on an international scale, modulating its structure according to the necessities of its activity. In accordance with these conditions, Council seeks to observe situations where human nature is reexamined, and to experiment with radical alterity - "the way I do not understand the other is different from the way he does not understand me".


Forms of Life, Franck Leibovici


(forms of life)

          when looking at an artwork, i often ask myself what form of life is behind it. in other words, i wonder what form of life the author has implemented to make the production of such an artwork possible. i also ask myself the opposite question: what form of life flows out of the work i am looking at? for example, if it seems like a big production, i imagine it required money and assistants; it may have even been necessary to outsource some of the work. in this case, i imagine the artist at the head of a small business with all of the related costs, financial constraints, working conditions and scheduling issues. does the artist work daily, i wonder, or only on commission, on pieces that have already been financed and which are created with prior knowledge of the exhibition space. when i see a drawing on the other hand, i ask myself if the artist draws every day. he or she only needs a pencil and paper to draw. these are efficient, light technological devices, but ones which also imply a specific way of working, with its own economic model and type of exhibition space. obviously, one practice is not better than another, nor are these two examples mutually exclusive: the same artist can have several practices and work on several scales.

          i can recall artists who closely related their practices to the forms of life they had chosen: one artist liked to buy books, read them, give them away as presents, spend time with his friends, make plays on words, etc. his artistic practice reflected all of that. another liked mushroom hunting more than anything in the world and he wanted to compose music that was full of chance encounters, like a walk through the forest. another felt that his friends should act idealistically, since that was the way he envisioned poetry—as fundamentallyethical—many of those who observed his life called him mad and his poetry incomprehensible. another artist, eventually, saw street vendors as the symbol of the society he lived in: walking into the city by day and out of the city by night, dragging around their little carts, never staying put. as a result, his sculptures, though monumental in size, could be folded up into little boxes that he carried away under his arm once the exhibition was over.
          i imagine this is the case for each of us: our forms of life and practices are closely related.

          "form of life" is a somewhat vague term. i would describe it as a set of practices, gestures, and ethical, political and economic positions. but when i try to imagine each of your diverse forms of life and practices, the mental picture i get is admittedly pretty fuzzy. i have to confess i have no idea. yet i think it is important to see an artwork as more than a trinket for the mantle or a decoration for the living room or museum wall, but as a process, a reckoning of that process, a step in fact, a way of recording the state of things at a given moment, a way that would build itself through “bricolage”. i tell myself that an artwork is, above all, an indication of the form of life of its author, who, refusing those forms he has inherited, has tried to invent his own.

          the practices that interest me do not require technical prowess, and moreover can be totally non-artistic in nature, but they are decisive parts of our work. the novelist haruki murakami says that he wouldn't be able to write if he didn't go running every day. how does he articulate marathon through his writing? i have no idea, but i do understand that a form of life works a little like a toolbox: there are many different elements that work together (a hammer with a nail) without one necessarily being the direct result of another (running has never, in and of itself, engendered the production of a novel). another artist, who works on the lebanese civil war, collects, day after day in beirut, flashlight lighters made by hezbollah—according to him, they say a great deal about an unstable geopolitical situation, and about the powers politics at play in the region. we are far from jogging—or are we?
          in order to describe or portray these practices, gestures, and forms of life, your submission may take the form of collections you have assembled, and which support your work, or which result from gestures you repeat on a day-to-day basis (but we'll try to avoid collections of an autobiographical or reliquary nature, for they fall outside our subject). your submission may also be a drawing in which you try to portray these practices. in fact, anything that might elicit the following remark from the viewer: "oh! this also is x's work!" 

          i think our practices and gestures sometimes produce our work or, at least, make it possible, give it meaning, etc. it depends.

          in order to help me clarify these mental images, this letter is meant to open an inquiry. like a trusted vehicle, this letter is making its rounds, seeking you out in your studios, in your daily lives, tracing your gestures, your mental positions. if you agree to reply, whether with a short text (a few lines or a page), or with pictures, videos, sound files, or whatever else, it might give us a better, and more importantly more accurate, idea of what producing an artwork actually entails—an idea which the market may overlook.

          the results of the survey will be presented in a form that has yet to be decided (publication, performance, conference, exhibit?). above all, the survey will take the form that you decide to give it. i know that this is not an easy exercise (avoiding formulaic slogans, succeeding in making knowledge haptic using techniques that have yet to be invented, most of all succeeding in transforming something that has never been represented into a representation). some of us may have never attempted such an endeavor. nonetheless, i predict that the outcome will be, at the least, very helpful.

warmest regards

franck leibovici

Link to the website desformesdevie


Il Tempo del Postino


"Curated by Hans Ulrich Obrist and Philippe Parreno as a group show that would occupy time rather than space, “Il Tempo del Postino” (Postman Time) presents a sequential display of time-based art on the theatre stage."

Il Tempo del Postino, curated by Hans Ulrich Obrist and Philippe Parreno with works by Doug Aitken, Matthew Barney & Jonathan Bepler, Tacita Dean, Trisha Donnelly, Olafur Eliasson, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal and Rirkrit Tiravanija & Arto Lindsay.
Manchester International Festival, Manchester (2007), ArtBasel, Basel (2009)

Website of Il Tempo del Postino
Review Frieze Issue 109 September 2007
e-flux announcement for the ArtBasel edition in 2009


La Piscine, Myriam Lefkowitz


Wishing to associate different artistic practices that broach related questions, she opened her reflection to others and came up with La Piscine. During six straight days, seven artists - Jean-Philippe Derail, Valentina Desideri, Ben Evans, Alkis Hadjiandreou, Julie Laporte, Myriam Lefkowitz et Géraldine Longueville Geffriaud - will intermingle with the Leclerc swimming pool of Pantin, offering the spectators the opportunity to co-construct an experience between one spectator and one performer.

The chosen practices were all conceived as « attention devices » for one spectator and one performer at a time; they all question the conditions and the effects of an experience for two; they all generate a singular perceptive process, activated outside of the usual context of representation (the stage or the exhibition space).

Though heterogeneous, the different practices will nourish one another inside the space of the Leclerc public swimming pool, mixing in the liquid environment to the point of dilution, leaving the artist as transformed as the spectator. As an alchemical laboratory, constituted at first by the water element, La Piscine is a space where sensations slide, weight is suspended, outlines blur, silences appear.

La Piscine, Hors-les-murs Laboratoires d'Aubervilliers, 20 - 25.10.2015
More information


The Hypnotic Show curated by Raimundas Malašauskas, hypnotised by Marcos Lutyens



Q: What is Hypnotic Show?
A: A temporary social structure of engaging into creative cognitive acts through shared practices of art and hypnosis.

Q: What is the relationship between art and hypnosis?
A: Hypnotic power of artwork has always been a favorite trope of people looking for transformative potential of art. However instead of seeing “hypnotic power” as a rhetorical figure Hypnotic Show aims at reducing art practice to the method of pure hypnosis. According to biometrics it connects to the brain faster.

Q: Why brain?
A: It is the ultimate destination of neuro-social engineering as well subjectivities of yet-to-be- invented. From the perspective of ceaseless production and total transparency* brain is seen as a final frontier to be colonised, from the perspective of individual subjectivity - as a last resort of things not-to-be-known. Hypnotic Show positions itself on both ends of the perspective.

Q: How does Hypnotic Show work?
A: When all spaces undergo gentrification and you think that your very inner subjectivity will remain a space of a strictly personal order your brain-waves are being measured against you

Q: No, no, but how does it work technically?
A: A number of invited artists have submitted proposals for Marcos Lutyens to be performed on the audience through a session of hypnosis.

Q: Can my girlfriend attend the séance?
A: Of course, please tell her to RSVP to sign up for a seance that will take place (time TBC) at...
(So far the show took place at Silverman Gallery, San Francisco; Artists Space, New York; Amsterdam Kunstwerein; Kadist Art Foundation, Paris; Labor, Mexico City)

Q: Is it true that hypnosis can convince in a value of certain artwork against my will? A: Multiple techniques are used in promoting arts value, hypnosis is just one of them.

Q: What remains after this show?
A: Reconfiguration of principles about workings or art and mind implied by artists proposal.

Q: What is the relation of Hypnotic Show to The Man Who Taught Blake to Paint in His Dreams drawing by William Blake?
A: It is not clear in this painting whether the Man was teaching painting in his dreams and Blake had access to that knowledge telematically or whether Blake was taught how to make paintings in his dreams. Or both.

Q: Will there be any works of artists made under the influence of Hypnosis?
A: No, Hypnotic Show is aimed at induce trance rather than show its static records.

Q: Is it an empty show?
A: A show in your head will never be empty. There will be possibly a dream-machine of Burroughs and Gysin installed in the gallery.

Q: Did it take place anywhere before?
A: Yes, at Jessica Silverman gallery in San Francisco in 2008 and Artists Space in NYC in 2009.

Q: What are the inspirations of Hypnotic Show?
A: Works of many artists including Graham Gussin, Matt Mullican, Ann Lislegaard, Pedro Reyes, Warren Neidich, Cerith Wyn Evans; conversations with Fernando Delmar, Pascal Rousseau as well as work of all the artists participating in Hypnotic Show with proposals.

Q: Is Hypnotic Show about collaboration?
A: Not really, but the relationship between hypnotist and the audience should be be described as collaboration.

Q: Can I buy I a hypnotic artwork?
A: Not at this moment. However soon you will be able not only to buy, but commission a hypnotic artwork created especially for you or to be able to induce your own hypnotic artwork on your friend out of pure love. Or both.

Sofia Hernandez Chong Cuy‘s report of The Hypnotic Show at at Artists Space, New York (2009)

The Hypnotic Show at CAPC musée d'art contemporain
de Bordeaux (2011)

The Hypnotic Show at Documenta 13 (2012)

The Hypnotic Show at Kadist Foundation (2012)


The Living Currency: After Pierre Klossowski, staged by Pierre Bal-Blanc


The Living Currency (La Monnaie Vivante) is a two-day exhibition, in which historical and more recent approaches to the body as a focus of performance in the visual arts are placed in confrontation with the latest developments in contemporary dance.
The title of the exhibition refers to La Monnaie Vivante (1970), a text by the French writer and painter Pierre Klossowski (1905–2001). Klossowski’s text develops an alternative model of economic exchange , which places the body at the centre of our everyday relation to the economy as the only valid form of currency. The Living Currency brings together artists who explore this theme in a number of contrasting, illuminating and provocative ways; in terms of living objects and inanimate bodies, human presence, use and manipulation, and law and order in society for example.

Link to CAC Bretigny

La monnaie vivante/The Living Currency/Die lebende Münze
6th Berlin Biennale
HAU 1, Stresemannstraße 29, 10963 Berlin
17 juin au 19 juin 2010, 19h30-0h30

Pdf booklet

Zywa waluta/La Monnaie Vivante
Muzeum Sztuki Nowoczesnej w Warszawie
Musé d´Art Moderne Varsovie/Teatr Dramatyczny
28 avril au 30 avril 2010

Pdf booklet

Living Currency/La Monnaie Vivante
Tate Modern London, 2008

Pdf booklet

Living Currency/La Monnaie Vivante
STUK Leuven, 2007

Pdf booklet

Living Currency/La Monnaie Vivante
Micadanses Paris, 2006

Pdf booklet


So Far So Good - NU festival, Kanuti Saal, Tallinn


NU Performance Festival takes place for the fifth time. During the first release in 2005, it was written in the foreword that “NU Performance Festival wanders around in the space between theatre, the fine and performance arts, (pop) music, and contemporary dance. This is an undefined, amorphous and dynamic area, where various specialties, understandings and traditions entwine. In this no man’s land hybrid forms emerge and new artists’ positions are created.” This is still a good introduction in 2014, too.

As this is the introductory text, then according to custom I will try to introduce the current festival.

I have invited my friends. They are my friends primarily in the sense that every inspiring person can be a friend, even if they are dead. Personal contact arises though work. When I see a work I really appreciate, part of me imagines it to be my own work. It is unavoi- dable that the festival program is also reflective of my own practice as a choreographer. Therefore if I couldn’t be myself, I would happily be any of the artists presented at this festival.

The festival presents performances that are not really performances, artists that may or may not really be artists, performers who may and may not be performing. There aren’t many occasions where you can “sit down and see” – because the perfor- mances also take the form of a workshop, a therapeutic session, a film, a club, a conver- sation, a conflict.

The works and artists presented are not contracted to serve any specific illust- rative purpose, to prove any singular topic, and certainly not to drown in any reductive theme on their way to a curatorial premise. They’re free to operate. Each of the works could represent the whole festival. In other words the festival is not made up of works, it is in each work. So we could also talk of nine festivals instead of one. The festival can be characterized by describing any of the artists or works that is featured.

When I first met RYTIS SALADŽIUS at Vilnius airport, I thought he was a taxi driver. Later I found out this was his work for the exhibition at CAC. The second time
I saw Rytis, I didn’t recognize him either because he was wearing a mask. Maybe in his workshop we can learn something about the secret ways of self-disguise, infiltrating into situations behind multiple masks, given that we will be able to recognize him.

Sometimes the shortest way is around a circle. The basic principle of surfing
is to do the opposite of what your logic tells you to do and
DJANA COVIC has told me that the best time to eat ice cream is in the winter.

“I would prefer not to” the well known phrase by Bartleby gains yet another meaning in the work of DORA GARCÍA “The Artist without Works”. Now, more than hundred and fifty years later, the refusal to work is just another way of working.
The artist without works could refer to several of the participants in this festival.

The production of objects seems to be of secondary importance or even a hobby for ALISSA ŠNAIDER, who like the cat on the cover of this newspaper know that their value lies not in their doing but in their being. I would give myself the second or third place in the category of least effort for “Internal Conflict”, a project acted out by the staff members of the festival.

“The Joycean Society” by DORA GARCÍA depicts the opposite end of refusal. The author in the film is not present but his work is, and he is clearly a friend to the tireless group of readers.

“Empathy is the key,” declares
USCHI GELLER EXPERIENCE somewhat shamelessly or shamanisticly. At this point there is no turning back.

The CHICKS ON SPEED are known to be famous, although on closer inspec- tion only a few seem to know what they are famous for, is it the incident when they were pelted with tomatoes while performing as warm-up band for the Red Hot Chili Peppers? Or perhaps their collaborations with Karl Lagerfeld or Julien Assange? “We Don’t Play Guitars” or the high heeled wireless shoe guitar worn by a nude Kate Moss? Art, fashion, music: fake or real? I have myself performed as a dancer with the Chicks over the past six years and they continue to confuse me.

SIMON ASENCIO’s “Jessica” does a hundred jobs, resulting in a shattered performance.

This reminds me of the well-known story about the history of Tallinn. In the lake Ülemiste (situated next to the airport) a kind of a demon is believed to live, he is called the Ülemiste Elder. If anyone should meet him, he always asks: “Is Tallinn ready yet?”
If then the other person answered “yes”, the demon would immediately flood the city (the lake is on a higher latitude than Tallinn). Thus, the correct answer would be:
“No, there is much to be done yet.”

When ALEX BAILEY first flew into Tallinn, he had a seven inch moment in the airport toilet when he was asked by the Ülemiste Elder, “Is Tallinn ready yet?” “It’s been ready for years, you cunt! I call everyone a cunt” he said looking at himself in the mirror. And Tallinn perished before the festival even began.

How to call the festival? “So Far So Good” is actually not really a title but an expression that refers to an uncertain state, a way to verbalize a notion that hangs unfixed, plausible of both negative and positive connotations. Invariably the festival will be known and therefore titled as “So far So Good” defeating the premise but the connotation that it may fall apart and be a disaster remains. Or how do you call a cat with no legs? A mug? No, call it whatever you like, it won’t come anyway!


Link to the festival program


oO — Lithuanian Pavilion at the 55th International Art Exhibition — la Biennale di Venezia


Website of oO
Review by Francesca Cavallo for Thisistomorrow

Artists: Liudvikas Buklys, Gintaras Didžiapetris, Jason Dodge,
Lia Haraki, Maria Hassabi, Phanos Kyriacou, Myriam Lefkowitz,
Gabriel Lester, Elena Narbutaitė, Morten Norbye Halvorsen,
Algirdas Šeškus, Dexter Sinister, Constantinos Taliotis, Kazys Varnelis,
Natalie Yiaxi, Vytautė Žilinskaitė
Curator: Raimundas Malašauskas
Commissioners: Aurimė Aleksandravičiūtė & Jonas Žakaitis
Production Manager: Francesca Bertolotti
Assistant: Justė Jonutytė
Graphic Designer: Goda Budvytytė


Program of the 5th Berlin Biennale


June 16, 2008

On Sunday, June 15, 2008, the 5th berlin biennial for contemporary art, curated by Adam Szymczyk and Elena Filipovic and entitled When things cast no shadow, closed after ten weeks. The biennial divided its time between day and night: By day it included an exhibition on view at four venues—KW Institute for Contemporary Art, the Neue Nationalgalerie, Skulpturenpark Berlin_Zentrum, and the Schinkel Pavillon—with mostly newly commissioned works by 50 artists. By night it featured over 100 artists and thinkers in 63 nightly events—performances, lectures, film screenings, and workshops—under the title Mes nuits sont plus belles que vos jours held throughout the city in cooperation with different institutions and with the support of the FABA Foundation. The Schinkel Pavillon was the site of five alternating artist-curated solo exhibitions, the last of which will remain on view until June 29, 2008.

Website of the 5th Berlinbiennale, When things cast no shadow.


Agency of Unrealized Projects


Agency of Unrealized Projects

Unlike unrealized architectural projects, which are frequently exhibited and circulated, unrealized artworks tend to remain unnoticed or little known. But perhaps there is another form of artistic agency in the partial expression, the incomplete idea, the projection of a mere intention? Agency of Unrealized Projects (AUP) seeks to document and display these works. Whether censored, forgotten, postponed, impossible, or rejected, unrealized projects form a unique testament to the speculative power of non-action.

AUP follows the publication entitled “Unbuilt Roads: 107 Unrealized Projects,” collated by Hans Ulrich Obrist and Guy Tortosa after several years of international research conducted in the late 1990s. Twenty years later, the Agency of Unrealized Projects was formed in collaboration with Julieta Aranda and Anton Vidokle, and an open call for unrealized projects was issued for its first public exhibition at ArtBasel in 2011. The open call will continue until all unrealized art projects are compiled.

link to the web site of AUP