"At the moment, probably the most pressing need is simply to slow down the engines of productivity. This might seem a strange thing to say—our knee-jerk reaction to every crisis is to assume the solution is for everyone to work even more, though of course, this kind of reaction is really precisely the problem—but if you consider the overall state of the world, the conclusion becomes obvious. We seem to be facing two insoluble problems. On the one hand, we have witnessed an endless series of global debt crises, which have grown only more and more severe since the seventies, to the point where the overall burden of debt—sovereign, municipal, corporate, personal—is obviously unsustainable. On the other, we have an ecological crisis, a galloping process of climate change that is threatening to throw the entire planet into drought, floods, chaos, starvation, and war. The two might seem unrelated. But ultimately they are the same. What is debt, after all, but the promise of future productivity? Saying that global debt levels keep rising is simply another way of saying that, as a collectivity, human beings are promising each other to produce an even greater volume of goods and services in the future than they are creating now. But even current levels are clearly unsustainable. They are precisely what’s destroying the planet, at an ever-increasing pace."

@1 month ago with 241 notes
#Economics #Politics #David Graeber #The Boston Review #Anarchism #Utopianism #Climate Change #Neoliberalism #Globalisation 

If you haven’t already discovered her work, I strongly recommend taking a long look at Yto Barrada, whose work is thoughtful, topical and complex. Her books A Life Full of Holes: The Strait Project, and Riffs are wonderful demonstrations of picture-making that delivers oblique but insightful analysis.

Via urbanautica:

YTO BARRADA
‘Riffs’
FotoMuseum, Winterthur
01.12.2012 - 10.02.2013

Yto Barrada – Riffs is the first large-scale museum exhibition by the French-Moroccan artist. In 2011 she was selected by Deutsche Bank as “Artist of the Year” 2011. The award includes an exhibition made possible by the financial institution, which was presented at the Deutsche Guggenheim in Berlin followed by stops in Brussels, Chicago, Birmingham, and Rome, and which can now be seen at Fotomuseum Winterthur.

For more than a decade, Yto Barrada (*1971) has confronted the political realities of North Africa in her photographs, films, and sculptures. Her work engages with life in her hometown of Tangier, Morocco, whose particular situation along the Strait of Gibraltar is emblematic of the historical upheavals experienced by many countries in northern Africa.

“I’ve always been attentive to what lies beneath the surface of public behavior,” says Yto Barrada. “In public, the oppressed accept their domination, but they always question their domination offstage. Subversive tactics, strategies of class contestation, forms of sabotage used by the poor – this is what I am most interested in.” Yto Barrada monitors the changes in her city with hawk-like attentiveness, responding to them with actions, images, and films that nevertheless maintain a remarkable calm, distance, and restraint. Neither iconic nor bellicose, they do not purport to be a weapon of enlightenment, nor do they offer a complacent, arrogant visual world that knows exactly how to behave and what to attain. As if the artist would always take a step back, her quiet, nearly static square color photographs offer visual fields opening up onto a landscape, an urban constellation, a being, a repose.

They reveal objects, buildings, and people so we might engage with them as observers, immersing ourselves, seeking, exploring, contemplating. We see here a sign and a gesture, there a rebellion; strikingly de-dramatized, real and allegorical at the same time.

© Yto Barrada | Fotomuseum Winterthur 

@5 months ago with 165 notes
#Photography #Yto Barrada #Documentary photography #Landscape #Politics #Immigration #Globalisation #Identity #Giorgio Agamben 
@1 year ago with 12 notes
#Photography #Yto Barrada #Documentary photography #Postcolonialism #Globalisation #A Life Full of Holes 
“He has a clear sense of how photographic seeing can help to clarify some of the more numinous truisms with which we operate, and to illustrate with sufficient sharpness of focus as to be incontrovertibly self-evident the scale of the struggle we’re faced with, should we have an interest in addressing ourselves to the challenge. To my mind, that gesture is in itself hopeful”
— excerpted from an extensive written feature and interview with photographer Jason Koxvold, up at the gallery site.

“He has a clear sense of how photographic seeing can help to clarify some of the more numinous truisms with which we operate, and to illustrate with sufficient sharpness of focus as to be incontrovertibly self-evident the scale of the struggle we’re faced with, should we have an interest in addressing ourselves to the challenge. To my mind, that gesture is in itself hopeful”

— excerpted from an extensive written feature and interview with photographer Jason Koxvold, up at the gallery site.

@1 year ago with 9 notes
#Photography #Jason Koxvold #Landscape photography #Landscape #The Great Leap Sideways #De-industrialisation #Globalisation #Interview #OWS #Occupy Wall Street 

In almost everything we now hear about economic disadvantage, there is the same belief, embodied in such government schemes as the Work Programme, that 40-plus years of deindustrialisation matters not, and to be one of the economy’s losers isn’t about being a victim of forces beyond your control, but character failings.

John Harris, The Guardian, 7th January 2013

Photographs from Blisner, Ill © Daniel Shea.

@4 months ago with 117 notes
#Photography #Politics #Economics #Daniel Shea #John Harris #The Guardian (UK) #Deindustrialisation #Globalisation 

Continuing on in the vein of the photographic re-working of David Harvey’s thoughts on political subjectivity, society and the city, the above selection of images from Daniel Shea’sBaltimore” and Brian Ulrich’sCopia” work speak to the interrelation of yesterday’s image selection and the broader themes in Harvey’s work as they intersect with Manuel De Landa’s ideas in “A Thousand Years of Non-Linear History”.

Contrary to what may be supposed, monetary systems are of not commercial but political origin. Specifically, they were developed by central hierarchies to facilitate the extraction of agricultural surpluses and the raising of taxes. In the early part of the millenium, feudal landlords extracted this excess energy, and in many cases peasants would come to a market town to sell their goods, not to buy other goods, but to get cash to pay their rent to the owners of their land.

(…)

Because towns are necessarily parasitic on their rural surroundings, urban ecosystems encompass more than what is found inside their walls. A town with three thousand inhabitants, a medium-sized town in the Middle Ages, needed to control the lands of at least ten villages around it (an area of approximately five square miles) to ensure a constant supply of edible biomass

— excerpted from A Thousand Years of Non-Linear History, by Manuel De Landa (pages 35 & 107 respectively)

(Source: thegreatleapsideways.com)

@1 year ago with 33 notes
#Photography #Social Theory #Economics #Urbanisation #Brian Ulrich #Daniel Shea #David Harvey #Neoliberal economics #Inequality #Consumerism #Globalisation #Manuel De Landa #David Simon #The Wire 
“So much of the weight of consumer apparatus depends, of course, on the production of desire - on the capacity of companies to generate a sense of lack where previously none was felt. Beyond the more self-evident (and very timely) political critique offered by Brian’s pictures, this idea is central too. His photographs never outwardly seek too earnestly the sheen of something beautiful, but achieve it by a seeming accident or spontaneous sincerity that is always everywhere sensitive to the ethics of the image, and the function of desire in our lives.”
— from a lengthy feature on the decade long study of consumerism and its relations to American culture “Copia” by Brian Ulrich, recently released as the monograph Is This Place Great Or What by Aperture.

“So much of the weight of consumer apparatus depends, of course, on the production of desire - on the capacity of companies to generate a sense of lack where previously none was felt. Beyond the more self-evident (and very timely) political critique offered by Brian’s pictures, this idea is central too. His photographs never outwardly seek too earnestly the sheen of something beautiful, but achieve it by a seeming accident or spontaneous sincerity that is always everywhere sensitive to the ethics of the image, and the function of desire in our lives.”

— from a lengthy feature on the decade long study of consumerism and its relations to American culture “Copia” by Brian Ulrich, recently released as the monograph Is This Place Great Or What by Aperture.

@1 year ago with 49 notes
#Photography #Documentary photography #Brian Ulrich #The Great Leap Sideways #The American Landscape #Consumerism #Globalisation #The Financial Crisis #Martin Parr #Robert Adams #Walker Evans #The Guggenheim Foundation 
“The idea pivotal to this form of inquiry is that the dynamics of our relationships to each other, to our immediate and distant environments, and to the mechanisms by which we might further our lives on this planet are imprinted in the rubric of what we consider to be ordinary spaces. This is not to suggest they might not also be elsewhere, but that the pedestrian nature of everyday spaces - the way they illustrate the syntax through which we interact with each other and the wider world - is an eloquent prism through which to explore these questions.”
— from a feature on the work of photographer Patrick Sundqvist up at the gallery site.

“The idea pivotal to this form of inquiry is that the dynamics of our relationships to each other, to our immediate and distant environments, and to the mechanisms by which we might further our lives on this planet are imprinted in the rubric of what we consider to be ordinary spaces. This is not to suggest they might not also be elsewhere, but that the pedestrian nature of everyday spaces - the way they illustrate the syntax through which we interact with each other and the wider world - is an eloquent prism through which to explore these questions.”

— from a feature on the work of photographer Patrick Sundqvist up at the gallery site.

@1 year ago with 3 notes
#Homogeneity,m #Photography #Landscape #Patrick Sundqvist #Documentary photography #Suburbanisation #Globalisation #The Great Leap Sideways #Homogenisation 
"At the moment, probably the most pressing need is simply to slow down the engines of productivity. This might seem a strange thing to say—our knee-jerk reaction to every crisis is to assume the solution is for everyone to work even more, though of course, this kind of reaction is really precisely the problem—but if you consider the overall state of the world, the conclusion becomes obvious. We seem to be facing two insoluble problems. On the one hand, we have witnessed an endless series of global debt crises, which have grown only more and more severe since the seventies, to the point where the overall burden of debt—sovereign, municipal, corporate, personal—is obviously unsustainable. On the other, we have an ecological crisis, a galloping process of climate change that is threatening to throw the entire planet into drought, floods, chaos, starvation, and war. The two might seem unrelated. But ultimately they are the same. What is debt, after all, but the promise of future productivity? Saying that global debt levels keep rising is simply another way of saying that, as a collectivity, human beings are promising each other to produce an even greater volume of goods and services in the future than they are creating now. But even current levels are clearly unsustainable. They are precisely what’s destroying the planet, at an ever-increasing pace."
1 month ago
#Economics #Politics #David Graeber #The Boston Review #Anarchism #Utopianism #Climate Change #Neoliberalism #Globalisation 
4 months ago
#Photography #Politics #Economics #Daniel Shea #John Harris #The Guardian (UK) #Deindustrialisation #Globalisation 
5 months ago
#Photography #Yto Barrada #Documentary photography #Landscape #Politics #Immigration #Globalisation #Identity #Giorgio Agamben 
1 year ago
#Photography #Social Theory #Economics #Urbanisation #Brian Ulrich #Daniel Shea #David Harvey #Neoliberal economics #Inequality #Consumerism #Globalisation #Manuel De Landa #David Simon #The Wire 
1 year ago
#Photography #Yto Barrada #Documentary photography #Postcolonialism #Globalisation #A Life Full of Holes 
“So much of the weight of consumer apparatus depends, of course, on the production of desire - on the capacity of companies to generate a sense of lack where previously none was felt. Beyond the more self-evident (and very timely) political critique offered by Brian’s pictures, this idea is central too. His photographs never outwardly seek too earnestly the sheen of something beautiful, but achieve it by a seeming accident or spontaneous sincerity that is always everywhere sensitive to the ethics of the image, and the function of desire in our lives.”
— from a lengthy feature on the decade long study of consumerism and its relations to American culture “Copia” by Brian Ulrich, recently released as the monograph Is This Place Great Or What by Aperture.
1 year ago
#Photography #Documentary photography #Brian Ulrich #The Great Leap Sideways #The American Landscape #Consumerism #Globalisation #The Financial Crisis #Martin Parr #Robert Adams #Walker Evans #The Guggenheim Foundation 
“He has a clear sense of how photographic seeing can help to clarify some of the more numinous truisms with which we operate, and to illustrate with sufficient sharpness of focus as to be incontrovertibly self-evident the scale of the struggle we’re faced with, should we have an interest in addressing ourselves to the challenge. To my mind, that gesture is in itself hopeful”
— excerpted from an extensive written feature and interview with photographer Jason Koxvold, up at the gallery site.
1 year ago
#Photography #Jason Koxvold #Landscape photography #Landscape #The Great Leap Sideways #De-industrialisation #Globalisation #Interview #OWS #Occupy Wall Street 
“The idea pivotal to this form of inquiry is that the dynamics of our relationships to each other, to our immediate and distant environments, and to the mechanisms by which we might further our lives on this planet are imprinted in the rubric of what we consider to be ordinary spaces. This is not to suggest they might not also be elsewhere, but that the pedestrian nature of everyday spaces - the way they illustrate the syntax through which we interact with each other and the wider world - is an eloquent prism through which to explore these questions.”
— from a feature on the work of photographer Patrick Sundqvist up at the gallery site.
1 year ago
#Homogeneity,m #Photography #Landscape #Patrick Sundqvist #Documentary photography #Suburbanisation #Globalisation #The Great Leap Sideways #Homogenisation