The Institute for the Art and Practice of Dissent at Home

This appears to be run by a family. Wicked.

The Weimart State

Wei-mart : a cabaret/market for all your needs. We even Christmas-wrap.

Below please find an interview with Christine Hill, whose Berlin (and now NYC) based project straddled the line between commerce and art. As she says in the interview, ""I've always held the belief that art is labor that deserves proper compensation." I believe that when we begin looking at art as labor, we can begin asking questions of value that go beyond the normal gallery/theatre context: how much is art activity worth? Why is an artist's time not "waged," but output-based? If we began paying an artist by the hour, what sort of fruits would that labor need to provide? For example, a lawyer or accountant bill by unit of time - hours and minutes. Could we hire an artist as a consultant, trusting that their "work" would be of a similarly high quality to that of other working professionals?

http://we-make-money-not-art.com/archives/2007/07/interview-with-20.php

How is theatre a service economy?

Or maybe the question to ask is, how can theatre embrace its potential as a service economy?

Claire Bishop responds to Nicolas Bourriaud's theory of relational aesthetics - in which artists abandon the art object for a focus on fostering interactions and relationships between viewers and themselves. Bishop basically kicks Bourriaud's ass, suggesting his theory overindulges certain artists' claims to "democratic" art . She instead proposes an aesthetics of antagonism, in which the tensions that arise between artists, their "populations," and a supposedly objective observer, are welcomed rather than denied.

Read it and weep: here.

Follow Ania Bas's work here.