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My artistic practice is a journey of exploration, a quest to bridge the diverse interests and disciplines that shape my understanding of the world. At its core, my work delves into the intricate relationship between desire, capital, and the realms of possibility that extend beyond its confines.
As a double agent - curator/artist - I navigate the multifaceted terrain of the art world with a unique perspective. Drawing from an eclectic array of influences, my practice weaves together strands of feminist theory, the mysticism of magic and ancestral knowledge, the nuances of psychology and its exploration of duality, and the critical lens of institutional critique. Central to my inquiry is a rigorous engagement with the mature work of Marx, whose insights into the dynamics of capitalism resonate deeply in our contemporary context.
Through a diverse array of media, ranging from text to performance, installation, video, photography, and social media interventions, each project serves as a testament to my dedication to collective production and collaborative networks. I endeavor to challenge existing power structures and reimagine alternative models of exchange that prioritize the collective good over individual gain.
Feminist perspectives infuse my work with a commitment to challenging patriarchal structures and amplifying marginalized voices. I draw inspiration from the resilience and resistance of feminist movements, channeling their energy into my artistic practice as a means of empowerment and liberation.
Magic and ancestral knowledge serve as portals to realms of intuition and mystery, inviting viewers to engage with the unseen forces that shape our realities. Through ritual and symbolism, I seek to evoke a sense of wonder and possibility, tapping into ancient wisdom to envision new ways of being in the world.
Psychology, with its exploration of the dualities inherent in human nature, provides a rich terrain for my artistic inquiry. I am fascinated by the tension between conscious and unconscious desires, the individual and the collective psyche, and the interplay between light and shadow within the human soul.
Institutional critique forms a cornerstone of my practice, as I interrogate the power structures and ideologies that govern our cultural institutions. Through subversion and intervention, I aim to destabilize dominant narratives and create space for alternative voices and perspectives to be heard.
Ultimately, my art seeks to articulate the complex interplay between desire and capital, shedding light on the ways in which our desires are shaped, commodified, and consumed within the capitalist framework. I am interested in exploring how these desires can be reclaimed, subverted, or transcended, offering glimpses of alternative possibilities beyond the constraints of the capitalist system.
Reframing the value of our art and art labor means creating a resistance to the commodification of feelings and categories of production, perceived as free but still tightly connected to the hierarchies and structures that create differences and fear among us.
Un-commodify our relationships - decentralize the PAIN!
Always.
And forever.
And in perpetuity.
A key aspect of my work is the exploration of intellectual property (IP) and its implications for artistic production and distribution. In 2020, I authored and officially registered with the U.S. Copyright Office the text and script for a transmedia performance art piece entitled "Performing Pro Arts COMMONS." Under the pseudonym Dadais Americanus, the PPAC copyright can be used by artists and collectives willing to occupy intellectual space and property together, disrupting capital and the dominant power structures that stifle marginalized voices, and hinder collaboration.
By authoring and registering works under alternative licensing frameworks such as the PPAC Art License, I aim to disrupt capital and empower marginalized voices while fostering collaborative creativity. Through initiatives like the Teaching Institute for Art & Law, I seek to promote equitable access to IP rights and reimagine the relationship between creativity, economics, and community.
Looking ahead, I propose innovative approaches to IP management, including the incorporation of morals clauses and equitable redistribution mechanisms within commercial agreements. By pooling artistic works under common ownership structures, such as the PPAC Art License, I envision a future where creativity is celebrated, valued, and shared in more inclusive and equitable ways.
The Teaching Institute for Art & Law is a pioneering initiative aimed at empowering local artists and intellectual property producers to recognize the social power inherent in their creations. By pooling their intellectual property into a commons, artists can collectively monetize their work, ensuring equitable redistribution of profits among all participants. This innovative business model offers a sustainable alternative to traditional reliance on grants and donations for artists to sustain their practice.
Central to this endeavor is the incorporation of a "morals clause" within the IP license governing each artwork. This clause defines the ethical parameters for commercialization, prohibiting the use of IP in supply chains that exploit people or harm the planet. By aligning artists and IP producers with workers across global supply chains, the initiative fosters economic solidarity and social responsibility, granting workers third-party beneficiary standing to enforce the IP license.
Dadais Americanus is a pseudonym used for Art made in the COMMONS that was registered with the US Copyright Office in 2020. Any creator can assume this name for a DaDA performance under the PPAC copyright license, and for artistic transgressions that defy the systems of power. For example, PPAC is a co-created IP Art by Pro Arts & OccupyIP. So is the Reframing essay (scroll down the page).
As a collective, Dadais Americanus empowers artists to exclude the excluders by asking each participant in our commons to create a morals clause, which details the ways in which an artist wants their art to *not* be used. We then combine all of these morals clauses into a copyright license that governs our commons. Transforming a morals clause into legally enforceable language can be a bit tricky, so the first act of our experiment is to ask participants to tell us, in their own words, how they want their art to not be used.
REFRAMING isn't merely a project—it's a movement. It offers a transformative vision for cultural production, advocating for fair resource distribution, embracing diverse perspectives, and reshaping artists' roles in society. Through collaboration, education, and collective action, this initiative drives change within the art world and beyond.
Central to the project's ethos is a deep engagement with legal frameworks, dissecting the intricate interplay between art, law, and economics. Through this examination, REFRAMING seeks to establish a collaborative economic model within the arts community, promoting mutual support and ensuring equitable distribution of resources. Through collaboration, education, and collective action, REFRAMING endeavors to catalyze meaningful change, not only within the art world but also in society at large. It offers a transformative vision for cultural production, advocating for deeper engagement with diverse perspectives and a more just distribution of creative resources, ultimately aiming to foster a more equitable and inclusive future.
The methodologies for implementing the REFRAMING project are centered around collaboration, education, and collective action. Key components of the project include the use of PPAC Art License, which empowers artists to control their work and promote economic solidarity through innovative copyright principles. The Teaching Institute for Art & Law provides education and resources for artists to navigate their intellectual property rights effectively, including a "smart signature" registry system.
Public Engagement: Through exhibitions, collective productions, performances, discussions, and educational programs, REFRAMING invites the public to actively participate in ongoing dialogues surrounding art, ethics, and social change.
Partnerships and Collaborations: Establish interdisciplinary partnerships with organizations, institutions, and individuals who share commitment to equity, justice, and liberation through the arts, amplifying its impact through collaborative efforts.
Collaborative Projects: Artists involved in the project collaborate on projects addressing social issues and challenging oppressive systems, including performance art, installations, interventions, actions, happenings, public practice, workshops, and P2P networks and initiatives.
Intellectual Property Rights Framework: TIAL Web3 DAO is an innovative framework prioritizing the moral rights and agency of artists, ensuring their creative expressions are respected and protected.
Scope BLN
presents
NO Exit: Duality is Overrated
a REFRAMING project by Natalia Ivanova
January 5 – January 23, 2024
Opening: Friday, January 5 at 6:00 p.m.
Natalia Ivanova's artistic vision transcends conventional boundaries, weaving together visual art, performance, video, sound, and text in a dynamic exploration of duality and desire. In "Duality is Overrated," Ivanova collaborates with fellow artists and cultural producers to craft a transmedia experience that challenges entrenched power dynamics and reimagines the role of intellectual property in our society.
Drawing inspiration from Sartre's iconic play "No Exit," Ivanova's transmedia experiment, "NO Exit: Duality is Overrated," places intellectual property at the heart of a gripping drama between individual aspirations and the collective will. Echoing the famous line, "Hell is Other People," Ivanova invites audiences to ponder the complexities of human relationships and societal expectations within the urban spectacle of two distinct spaces: the Project Space and the Cinema Room of Scope BLN.
In Act 1: The Theatre of Law, Ivanova extends an invitation to collaborators from Dadais Americanus Productions, Moabit neighbors, artists, cultural workers, and the public to occupy intellectual property within the Scope BLN Project Space throughout January 2024. Here, the artist exposes the fissures in our economic system, highlighting the unfair treatment faced by working-class artists and cultural producers. By re-establishing connections between artist, community, and institution, Ivanova creates an open platform for dialogue and engagement that transcends traditional cultural boundaries.
Act 2: The Libidinal Economy, hosted in the Scope BLN Cinema Room, delves into the nuanced valuation of artistic output within the commercial realm. Ivanova challenges conventional notions of success by shifting the focus from end products to the labor and processes inherent in artistic creation. Through this reframing of the gaze, the artist disrupts established market channels and manipulates the value of intellectual labor, sparking conversations about power, capital, and the commodification of art.
"NO Exit: Duality is Overrated" invites viewers to embark on a journey of introspection and exploration, where boundaries blur and possibilities emerge. Through collaborative experimentation and transmedia storytelling, Natalia Ivanova invites us to reimagine our relationship with intellectual property and envision new pathways towards collective liberation.
Join us in experiencing the transformative power of art as we navigate the complexities of desire, labor, and production in a world shaped by possibility.
Wednesday, January 17, 2024
19:00 - 21:00
THIS IS HOW YOU MAKE ME FEEL SOMETIMES
Christian Borrelli, Anna Stallone, Barcode People: Qihao Liang and Tong Shu, and Natalia Ivanova
Part environmental protest, part reflection on the consumption of goods and people in late capitalism, This is How You Make Me Feel Sometimes asks us to consider how we discard what, after being used, no longer serves us, without taking responsibility for that relationship. This applies to us as individuals but also, and most importantly, to us as artists, when we feel used by the market, by the system, by the audience, only to be forgotten in a trash bin later.
Friday, January 19th, 2024
19:00 - 21:00
“The Commons: of Friends & Lovers” reading and participatory performance with authors Natalia Ivanova and Marc Herbst
In an Act of tireless L-O-V-E, join Natalia Ivanova and Marc Herbst for a reading and performance of "The Commons: of Friends & Lovers", co-authored by them.
"The Commons: Of Friends & Lovers" was written at a time when possibilities for building open, radical commons out from public space seemed like a memory. That is, it was co-authored over the course of the 2020 to 2021 Covid lockdowns. But the common sensibility shared by the book’s authors, Natalia Ivanova and Marc Herbst, is one of attending to the relations that compose and bind the micro- and macro- politics that determine the fates and ways of individual and common being. Covid seemed to only increase an awareness of the intimate politics of those relations.
So, while this is an intensely political book, it is more an intensely personal one. It asks, “how do I feel about, and how do I feel through all the work of being entangled by and entangling others in a common community?” Ivanova has been the curator and provocateur of a hybrid experimental common cultural platform, Pro Arts Gallery & COMMONS, in Oakland California, since 2015. Herbst, co-editing a diffuse intellectual commons through the Journal of Aesthetics & Protest since 2001, has recently engaged in several community and commons-based initiatives with friends and in experimental settings.
About the Authors:
Natalia Ivanova is the executive director of Pro Arts Gallery & COMMONS in Oakland CA. She is a cultural organizer, curator, and a published author on topics exploring the intersection between art, law, and economics. Her leadership and curatorial practice reflect her social justice background and her commitment to building alternative spaces and platforms that create new opportunities for culture producers, artists, and arts organizers to build autonomy and community.
Marc Herbst is a co-founder of the Journal of Aesthetics & Protest, an interdisciplinary journal and weirdo collective founded in Los Angeles in 2001. In addition to being a research fellow at ProArts working on a speculative cultural policy for the Bay in the Year 2043, he recently co-edited/co-published We Are Nature Defending Itself by Jay Jordan and Isa Fremeaux with the Vagabonds imprint of Pluto Press.
Saturday, January 20th, 2024
17:00 - 19:00
Censoring Palestine: Screening and Q&A with Dan Glass and Tobias den Haan
Join us for a screening of "Censoring Palestine: The Weaponization Of Anti-Semitism" film by Dan Glass, followed by a screening of "Germany's Palestine Problem", directed by Jad Salfiti. Post-screening, stay for a vital conversation and Q&A session, led by Dan Glass (author, artist, activist) and Tobias den Haan (Monitoring Project researcher at the European Legal Support Center) who will address critical issues concerning artists and activists who are working in solidarity with anti-war movements.
Together, we will explore lessons learnt from previous anti-war movements that aim to transgress power dynamics of the state that silence voices, instill fear, and instrumentalize the concept of ‘othering’. Critical questions we will cover include (1) What is possible to advocate? (2) What can we do with our own experience? (3) What do effective anti-war movements look like? (4) How to catalyze leadership in the arts and culture sector to create a concerted movement towards operating in solidarity with human rights, global movements.
Let’s celebrate the potentialities of human radical imagination, while we connect in and through the arts, memory mapping tactical, strategic and ethical examples that disrupt the war-machine!
"Censoring Palestine: The Weaponization Of Anti-Semitism"
As the global far-right grows in size and influence, anti-Semitic attacks are on the rise and an ongoing concerted effort led by Israel’s government is working to frame Palestinian activist groups as the main culprit. Redfish explores how allegations of anti-Semitism leveled against critics of Israeli policies are being weaponized to suppress and censor the global movement in support of Palestinian rights.
Produced in 2020 the film is more relevant than ever. With the current impending genocide in Gaza and the unwavering support from the German, British and French Governement for this tragedy unfolding in front our eyes, our film focuses on intervening in the silencing of Palestinian solidarity to inspire critical conversation on what constitutes effective protesting.
Dan Glass is an author, artist, LGBTQ activist and grandson of German and Polish Jewish Holocaust survivors wholeheartedly influenced by the principles of Never Again Ever. The Londoner has been involved in various political movements and campaigns for years. Dan is an AIDS Coalition to Unleash Power (ACT UP) activist, In Place of War art is, international trainer with Beautiful Trouble and the Training for Transformation movement that was born out of the Anti-Apartheid movement to develop critical consciousness and transformative action. Contact Dan at @danglassmincer and www.patreon.com/danjglass.
Follow @danglassmincer / Website - The Glass Is Half Full / Donate to Keep active for Palestine - ACLAÍ Gym solidarity
“Germany's Palestine Problem by Jad Salfiti
The short documentary tackles how Germany’s troubled relationship with its past has turned Palestinian self-determination into a no-go subject, earning pro-Palestinian voices severe, life-altering recriminations. It delves into questions on the roots of Germany’s anti-Palestinian practices, interviewing members of one of the biggest Palestinian diaspora communities, who have been affected by censorship of all forms of pro-Palestinian advocacy.
The film won first place in Best Use of Video category at the WAN-IFRA Digital Media Awards Middle East 2023.
Jad Salfiti
Based in Berlin, Jad Salfiti is a British-Palestinian journalist specializing in the intersection of culture and politics. He frequently contributes video reports to BBC’s Talking Movies and is a host on ARTE Europe Weekly. He has written extensively for a wide range of media, including The Guardian, Financial Times, and Al Jazeera English.
Tobias den Haan
Tobias is based in Berlin and is a Monitoring Project researcher at the European Legal Support Center.
The European Legal Support Center (ELSC) is the first and only independent organisation defending and empowering the Palestine solidarity movement in Europe through legal means. They provide free legal advice and assistance to associations, human rights NGOs, groups and individuals advocating for Palestinian rights in mainland Europe and the United Kingdom.
The ELSC intervenes to end arbitrary restrictions and criminalisation of advocacy. The Monitoring Project is there to map, track, and raise awareness about the repressive measures used by European governments to impede and criminalise the Palestine solidarity movement.
Sunday, January 21st, 2024
12:00 - 14:00
Matinee with the work of Benjamin Gerdes
Connecting the world takes every one of us, 2021
Video with sound, 6 min
As artist and researcher, Benjamin Gerdes is interested in technological infrastructures that underpin contemporary communication, mobility and social life. The transmission of data – to watch a movie from a streaming platform, to order a product online with a couple of clicks, or to pay without cash – are seemingly immaterial and abstract. The effectively designed warehouses and the rigidly organized transmission cables often look boring and inhuman, and they rarely attract the attention of the wider public. Gerdes’ montage makes visible how these systems are, in fact, propped up by heavy industry with massive spatial and electrical demands that are an enormous burden for the environment. The clouds for saving data seem to be flowing weightlessly out there – out of sight, out of mind – but the building of technological devices, powering them, and storing the data in massive data centres produces enormous demands for electricity including land and admissions. The rapidly growing information and communications technology sector is responsible for 2% of global emissions, which is roughly the same as the aviation industry’s carbon footprint from fuel emissions. --Kunsthall 3,14, Bergen
Video with sound, 43 min
From 2016 until 2019, a highly public conflict raged between the Swedish Dockworkers Union and the employer APM Terminals in the Gothenburg container port. From the workers’ perspective, the dispute, which led to a national strike and lockouts in ports across Sweden, was about working conditions and opportunities for influence in the workplace.
In Gerdes’s film, the dockworkers reflect on the conflict two years later, and also on how working in the harbor impacts their relationships with family and friends. In contrast to most of the media reports about the negotiations, Gerdes’s film features the workers’ personal stories. An underlying theme is how the specific conflict illuminates the tension between a local struggle for democracy and justice and the global system and infrastructures that encompass jobs in the harbor through multi-national corporations and flows of goods. --2021 Gothenburg International Biennial of Art
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