Johanna Bruckner

The Future of Work: Scaffolds and Agencies in the post-work age

The substitution of human labour with robotic technologies is challenging European welfare systems, generating a complex debate about the policies that should be adopted to regulate this process. According to recent discussions between politicians and representatives of other positions in Europe, either robots or the companies using them should pay a tax, in order to lessen the social costs arising from automation’s displacement effect. And this ʻrobot taxʼ, some argue, should be used to finance a universal basic income. A robot can operate a machine for longer, more safely, in any weather and without any need for lunch breaks, holidays or sick pay.

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The lecture performer's body

THE LECTURE PERFORMER'S BODY. Some thoughts on recent work. The lecture performer is a worker on the stage; he/she is the producer of content but also the producer of affectivity. The mediation of the content depends on the performance of affect; the capability to address and impress the other, the potential to attract and catch audiences - the love he or she performs with. The body’s engagement is a measure of evaluation. Performance, as we know, has surpassed the art genre and determines the contemporary subject: the market demands a body, which is continuously performing to optimise his/her desires and pleasures. Today, the discipline of human affect is central in anyone’s performance of daily life and work. Published by Andey Shental in "Penomenology of Lecture Performance".

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I too, Have Been Seduced by the Promise of Exposure

Podiumsdiskussion, Kunsthaus Hamburg. Diskussionspapier. Mit diesem Statement setzen wir uns für die Bedingungen künstlerischer Arbeit in und außerhalb Hamburgs ein. Das Ziel dieser beginnenden Debatte ist, in gemeinsamer Diskussion einer entstehenden Arbeitsgruppe Lösungsvorschläge zu den im Folgenden genannten Punkten zu besprechen. Die geplante Arbeitsgruppe erarbeitet Kurz- und Langzeitstrategien basierend auf Erfahrungen unserer Arbeitsbedingungen; und welche Infrastrukturen künstlerischer Produktion neu orientiert oder ausgebaut werden können. Einige gesammelte Anliegen wollen wir in Kürze umreisen.

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SCAFFOLD

THE BUILDING, A SCAFFOLD, A SCORE. Script for an Assemblage-Film. Short version. I recently wandered along Versmannstrasse in the Baaken Quarter in Hamburg, passing large areas of wasteland occupied by sea birds, with the river beds smelling of marsh drying out in Hamburgʼs early July heat, when the street ended abruptly in front of a block of pale green shelters. Some mothers and their children were in front of the buildings, on the playground between the blocks of shelters, their temporary homes. In immediate proximity to their living space, refugees are confronted with private corporations’ aspirational new luxury enclaves, the clime of redevelopment. Most of the land is being sold to private investors; new homes are rising up and will soon change the landscape entirely. Not far away from the refugeesʼ homes, workers live in specifically designated...

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Publication: SCAFFOLD.

Publication: SCAFFOLD. The book's central concern is a discussion of the construction site scaffold in relation to the scaffold as object and method of an algorithmic operation. The point is to set the digital fabrication of public space by algorithmic infrastructures and architectures against the physical scaffold as a location for economic-political confrontation. The work, consisting of a publication and a sculpture, intends to sound out the capacity for agency for a praxis that organises itself politically to entwine work, space and infrastructure, and will refer to current architectural developments in Hamburgʼs HafenCity. The publication is arranged in two parts, while interconnections are key. Artistic and theoretical contributions from local and international positions address the subject in a variety of forms. The sculpture described later in the text will be realised in collaboration with Caro Baumann, architect.

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Total Algorithms of Partiality

Poem from three citizens - Poem from work in the military. The baseball field – in front of the house – as a shooting range surrounded by urban warfare, backlit by a military warzone. The software is tested and developed by Cisco through field trips in the Gaza strip. Our movemets serve the basic patterns for target data developement. We are those bodies that are feedbacking between Gaza and HafenCity. Each overlap - a new bodily constellation - confuses the sensory technology; by the fence we sense only our intimate, corporeal agency; embodied transport - the agency of social elevation.

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Sergio Ferro

Sergio Ferro: "The history I write, and that Rodrigo [Lefèvre] and Flávio [Império] wrote for years in Grenoble is always an upside down history. Usually we look down from the architect to the realization of the work, but we try to approach architecture from an upside down angle, from what happens down at the building site up to the architect’s drawings. First, why did this kind of problem emerge during the sixties? This was not extraordinary for my generation. At that time, in the sixties, there was a worldwide climate of euphoria and excitement and leftist movements of all kinds; guerillas, revolutions, and very important social movements in Europe".

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Rebel Bodies: A few Scores, 2015-16

Rebel Bodies: A few Scores, 2015-16. Film script. SCORE for turning around. SCORE for body release. SCORE for dance development. The situation of moving. Make dance technique a preparation for (mass) movement!

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Rebel Bodies. Text by Marius Henderson

Rebel Bodies. Text by Marius Henderson. Johanna Bruckner continues her research on the organization of collective bodies with “Rebel Bodies”. This work picks up the Workers Dance League’s inquiry into the possibilities of forming subversive embodied collective subjects.

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REBEL BODIES: Publication

REBEL BODIES: Publication. During the 30s numerous workers’ dance groups emerged across the US and Europe and assembled under umbrella organization of artists with the founding aim of putting an end to exploitation and inequity in the workplace by calling dance a “weapon in the class struggleˮ. Left wing performers envisioned a revolutionary dance form that would allow blue-collar realities of oppression and marginalization to disappear. These early dance clubs were constitutive of the fractured politics of the depression, the economic crisis, and the influence of the fascist clime in Europe. The dance communities produced scores that everybody in the public audience could learn and repeat, in order to transform the physical experience of common movement into social agency and political consciousness. Simple movements aimed at evoking a sense of community in the group. Liberation and equality would not just occur during the revolution but through ongoing practice organising everyday life.

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EMBODIED INQUIRY AND INSURGENT RESEARCH CREATION in Johanna Bruckner's Total Algorithms of Partiality. By Marius Henderson.

EMBODIED INQUIRY AND INSURGENT RESEARCH CREATION in Johanna Bruckner's Total Algorithms of Partiality. By Marius Henderson. In the dance movements of the performers one can witness the bodies’ potential to secede from forms to which they were relegated, and to assume other forms and formations. Options for alternative sensory arrangements suddenly arise since dance affects the entire body, with all its senses. Hence, Bruckner’s work also investigates the possibilities for a ‘(re)distribution’ of the sensible, and this marks the preeminent moment of the emergence of the political. Past and present investigations into the affective dimensions of (labor) struggles constitute starting points for transformations of established genres and linear narratives of life and survival in Bruckner’s practice. Inter- and intra-subjective calibrations are being reshaped and reformulated, and resistant tendencies are being unleashed. Thus, Bruckner’s practice is necessarily situated in a transdisciplinary, transmedial, and trans-generic field – in dance, as well as in performance art, video art, public art and installation art.

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Body Talks. Subjectivation, ‘emotional objects’ and the economy of desire

BODY CONVERSATIONS. Subjectivation, ‘emotional objects’ and the economy of desire. There has been a focus in the post- operaist tradition of thinking, which affirms that subjectivation takes place in the pre-symbolic state of perception. While the pre-symbolic or pre-individual (the affective) is paradoxically the dominant mode of production today, it may inhabit the conditions which offer escape from capitalist domination. My contribution with this text is to consider how subjectivity is produced by the experience of our feelings in relation to how they are attached to certain objects. The performers Hedda Parkkonen, Roberta Cepagglia, David Espinosa Angel, Eva Streit, Milena Stein, Isabell Suck and Karen Kan participating in the performance installation “Body Talks” play an important role in developing my arguments. The following paper is structured in the form of an essay which is built in response to my artistic work.

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Contested Circuits of Production

Contested Circuits of Production: Report on the workshop I gave at the SARN Conference on Artistic Research, „we, the public“. Published by SARN. What could it mean to conceive of artistic research conferences as critical practices in the present? How do they activate a critical institutional context? What does it mean when producers become mediators of their own work? Asked to give a short report on the workshop I held at the SARN conference we, the public, this statement will briefly reflect upon the form I chose to connect work and audience, the arrangement of work/space, the role of research in the exploration of institutional presentation formats beyond exhibition and display, and the role of feedback in the presentation of artistic work on site.

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AAR platform for critical aristic research

AAR is an umbrella term for a research platform, whose practices try to reconfigure and modulate what we conceive of „the Curatorial“ today: what are the models of collaboration between actors in the field today and who participates therein? Most of the work is collaborative... - these activities stopped being articulated within the framework of AAR, but subsumed under the general art practice by Johanna Bruckner.

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