Using In formation as a platform, the Corporated Culture for Creative Innovation (CCCI) group responds to the question of how practices of 'commoning' can be relevant for the contemporary moment. Relating to the work of Massimo de Angelis, among others, the group leads a seminar investigating the relationships between contemporary artistic practice, corporate culture and the commons. In today’s neoliberal conditions, how might artists operate more sustainably? What can art and artists do to intervene in the power structures of the art world and where does the artist fit within changing notions of 'public' and 'private'?
The CCCI focus the discussion around the online platform as quasi-commons, thinking through the pros and cons of engaging with existing platforms—Instagram, Facebook and the like—as tools for development as well as how they may be interrupted, re-purposed or used to inform the construction of new, collectively-owned and governed platforms. The speakers invited by the CCCI, Emily Rosamond and Frederique Pisuisse, consider these issues via an exploration of alternative modes of ownership and collectivity in regards to knowledge and resources.
Playing on Trebor Scholz’s 'platform cooperativism', Emily Rosamond’s lecture proposes a theory of 'platform indeterminism' – a way of thinking through sites of illegibility in online platforms as quasi-commons, suspended between surveillance-capitalist accumulation and collective action.
Frederique Pisuisse speaks about reclaiming a space for artistic production within a privatized online world. She unpicks practices of subtle and fraudulent protest of global platforms and institutions, while accepting all terms and conditions*
*parts of her practice could be considered illegal, play along at your own risk
Frederique Pisuisse graduated from her MA at Goldsmiths University of London in 2016 and received her BA from the Gerrit Rietveld Academy, Amsterdam in 2013. She lives and works in London and Amsterdam. While executing the artist’s role she shakes up traditional artsiness in immersive performative installations, using the exhibition space as set. Her interest lies in hierarchical power relations, and with the expectations of her as a female-bodied artist. Continuously switching between executive and contemplative characters, she pushes the public to think for themselves and let go of conventions about what’s hot and what’s not.
Emily Rosamond is a Canadian artist, writer and educator. She completed her PhD on character in the age of big data in 2016 as a Commonwealth Scholar in Art at Goldsmiths University. Recent publications have appeared in Paragrana (2016), Finance and Society (2016), Message (2015) and the International Journal of Performance Arts and Digital Media (2015). Forthcoming essays will be included in A Market of Values: Transacting (Intellect Books, 2017), Are We All Addicts Now? (Liverpool University Press, 2017) and Moneylab Reader #11 (Institute of Network Cultures, 2017).
The Corporated Culture for Creative Innovation Group is Marcel Darienzo, Anne de Boer, Ian Gouldstone, Maeve O'Neill, Robbie Howells and Laura Yuile.