25-06-2013 [• shop shop • economy
Just before the summer the group behind Shop Shop meets at Michel Yang’s place for an 8-hour long debate on when, where and how the project will take shape.
How deep does the group want to plunge into the juridicial reality of opening a shop? Where in Brussels will ‘Shop’ be located? What’s the monthly rent? How long will the project last? How much of their working time do the participating artists want to invest in ‘Shop’? How do the shopkeepers think they will make money? How to deal with the differences in ‘rentability’ (some will make more/less money than others)? How will the group function (as a group)?
The talk is concluded by a meeting with Katrien Reist, who works for Jubilee <<<
... "JUBILEE aims to set up an organizational structure that optimizes the
output of its members through joining efforts and equally distributing
its collective assets and resources (economic, artistic and social)"[read more about SHOP SHOP here >>>]
13h00 (planned) start
13h15-13h30 reality check (by Christoph)
(Is about re-questioning how far we will go in our attempt to clarify all necessary legal steps
before opening the shop or take that aspect with us on the way in an "as-if" situation. And the
consequences of that decision).
extra input: see text 1 (and others suggested by Séba)
13h30-15h00 where and when?
(alternative places and when to start ...)
15h30-17h00 money and how?
(proposals of how we will earn money and how we will deal with upcoming differences inside the group ...).
extra input: see text 2
17h30-18h30 open talk
(We did not plan a lunch break - so please bring little snacks if you feel like or need it for 13h00.
For dinner we follow Michel's lead: everybody brings something that we will prepare together ...)
19h00-21h00 presentation of JUBILEE by Katrien Reist
: the externalist approach
I got the term ‘externalist’ from a text by the sociologist Rudi Laermans, but in what follows I’m using the word in my own way. Let me define this ‘externalist working method’ by first describing its opposite. The ‘internalist’ practice of art assumes that the field within which artistic choices can be made, is primarily defined within the X number of square meters of a painter’s canvas or an art gallery, or between the opening and closing of a theatre curtain. For example you can decide to work with actor Y or Z, to use a specific sort of light at a particular moment in the performance or to incorporate video images.
An externalist approach draws in addition a whole lot of external, context-dependent factors into that field of artistic choices. Considering the working conditions is taken up into the working process. Externalists are always asking themselves, to a greater or lesser extent, about the way in which they collaborate and with whom, via which channels their work is financed, how it is communicated and promoted, to which publics it is directed and in which context it is developed and presented. To the arts organisations that work with them, they can therefore sometimes be real troublemakers or busybodies. They understand that in reality they are never truly autonomous but always bound to and dependent upon external factors. However externalists embrace this heteronomy, by experimenting with dependency relationships and by setting up alternative connections. Or at least trying to.text 2
: the balance between competition and cooperation: the spectrum of exchange (Richard Sennett)
c. differentiating exchange
6 pages, easy to read