With each iteration, capital EXPANDS – from city states, to countries, to a transatlantic network, to domination of the terra-world.

Now, faced with limits to its exploitation of ‘human society’, capital looks to expand its territory once more.

A SPACEPORT is planned for Newquay airport, from which a multi-pronged attack is planned on LAND, OCEAN and SPACE:- launching satellites which will VISIBILISE those of us who have managed to remained UNSEEN- creating a securitised BARRIER to human-cetacean UNIFICATION- aiding the COLONISATION of other planetary bodies, enacting their LIVING DEATH

And as above so below

In Cornwall as in Space, the owning class are tying SPACE to TIME through the mass ritual human sacrifice of the working CLASS, crystallising lived experience into Commodity. The government-directed Truro Business Investment District are trying to close off possibilities of EMANCIPATION through COLLECTIVE ENDEAVOUR. The streets of Truro are being prepared for gentrification through DISPOSSESSION and subjugation through COLONISATION. Just as they wish to close the Moon-Door, they are trying to enclose our consciousnesses in the Banality of the Spectacle.

TBID? -or GTFO?

The Destination Management Organisation, ‘Visit Truro’, is being used to turn one of our sites of Conflict into a mere Destination. We must fight together to make sure that they never ARRIVE.

From Project Diana to Project ARTEMIS, the ruling class use THE MOON to discipline human labour on EARTH.

This June we say: CORNWALL IS THE MOON.

This June we say: ‘Sea of Tranquillity’? or ‘Sea of Violence Inherent to the Accumulation of Capital’?

Space is a commons!

We must come together to prevent the conditioning of outer space and the banalisation of the oceans!

We pronounce our solidarity with our cetacean and space-comrades in our united struggle against the subjection of our lived experience to organisation, order and control!

We say NO to the spaceport, NO to dolphin subjugation and NO to the reduction of space!

JOIN US this June as we collectively subject SPACE to lived TIME of the working CLASS

Decolonial Disassociation of Dolphinauts

contact: dx <at> antisystemic.org

ÐعŲM委п (DAMTP) invite you to the Intersectional Triolectical Laboratory of Intrawinglement in Kernow (Cornwall) from 9-13th June

the laboratory will consist of a series of 3 sided foolball (3sf) games to be held at past and future sacred sites and other psychogeographical vortices.

3sf is a special variation of football designed to disrupt the dualistic and capitalist framework of 2 sided football. Football as a treasured patriarchal institution designed to temper and channel patriarchal violence and destructive work into a productive psychic one must be overcome and transformed by continual decolonial and feminist Interventions and proletarian revolution . The games we will be playing as part of the laboratory are designed to create an inclusive safe space that will then open a state of Quantum Lettrist Entanglement with the G7 summit in order to divert the futures being shaped by the capitalist nations away from genocide and business as usual and towards global emancipation and proletarian revolution.

we will do this specifically by enjoining the world leaders as they stay in Cornwall, in their very dreams, their waking nightmares, and bring them face to face with the hellfire they mean to meet out to the masses.

We invite teams to join us for these matches. 3sf usually has 3 rules: there are 3 teams, one ball and the winner is the team that concedes the least goals. For this laboratory we will be suspending all rules. we invite individuals or teams to register with us or simply show up at the published fixtures.

Further details will be released closer to the time. Or email taeateh @ psychogeography.org to register your interest x

Fixtures List

Thursday 10th June 2021 (30 Sivan/Shawwal , 5781/1442)
Location: Tintagel / Bodmin Moor Zodiac
Teams: USA V UK V EU
Final score: 1-1-1

Friday 11th June 2021 (1 Tamuz/ Dhuʻl-Qiʻdah, 5781/ 1442)
Location: Goonhilly Space Base
Teams: TBA
Final score: 0-0-0

Location: Carn Brea
Teams: Land v Capital v Labour (TBA)
Final score: 1-1-1

Saturday 12th June 2021
Location: Carn Cottage, Zennor
Teams: TBA
Final score: 0-0-0

Location: Tate, St Ives:
Teams: Art v Life v Science (TBA)
Final score: 0-1-1

Sunday 13th June
Location: Dancing Stones at Tregeseal
Teams: Communist Party of China (psychic/destructive) v International Proletariat (productive) v the underclasses (reproductive)
Final score: 0-0-1

the Godly7 – consisting of the allied (UK, USA, France, Canada) and the axis (Germany, Italy, Japan) powers with the exception of the USSR. of course the USSR no longer exists – indeed most notably Germany no longer exists as it did, much of it having seceded and fragmented to Poland, Austria, Hungary and indeed into the European colony state of Israel. its no surprise these states are not part of this new alliance nor that Russia or China are excluded and when we consider that the Demonic10 is the addition of India, Australia and South Korea it seems clear why.

Its no surprise they have chosen Cornwall to host this unholy mass. the Tories want to drag Britain and the world into the middle ages. they imagine their continuing crusades in the “middle east” to continue into “the east”
as the west they have chosen one of the poorest areas in England in which to display their power and wealth. After Johnson pulled the stunt of emerging from Covid quarantine on Good Friday in 2020 its laughable to see him present himself as a new King Arthur of the round table. all that remains is for him to fulfil the fantasies of the most rabid of fascists and nationalists is to revert to Islam and declare himself a reincarnation of Hazrat Ali RWA, with the Prophet Merlin revealed as the Prophet Mohammad SWA. Camelot as a British state where Judaism, Christianity and Islam are at last unified in Communism. But we know that this State Communism, like the Red Capitalist East of the USSR or China – or the Great White and Green Washing of the Red White and Blue West, are just recuperations and distortions of the only truly inevitable future for this planet: Stateless Society, beyond Class, Space or Time.

The spectacular Jerusalem they are building in Israel or indeed on England’s white and withered land/scape is one based on the usual aparteheid – the heaven of the bourgeoisie and ruling classes in Carbis Bay is built on the hell of poverty for the working class. Cornwall as landscape, romanticised landscape, reified object of tory propaganda, hell to actually live in and its the same whether this holy land is Palestinians in Israel, Farmers or Dalits or Sikhs in India or indeed the Cornish in England. The local people recede into the land/scape, just like in Australia where the Original people were classified as wildlife and fauna – part of the land and not labour – ie not human. the working class from England who were sent there as slave labour were given human status while the ruling classes became gods. it is this the victory of capital over land and labour that the g7 and d10 are here to bring to fruition. even god is capital in their great reset. Technology as Capital and as God – from G7 to 5G – is designed to bring labour and land together but under the rule of Capital. we are here to ensure this does not happen and that it is Labour not Capital or Land that is the dominant forms of re/pro/d(estr)uction. Power to the People.

We invite all working class people of Cornwall and beyond, to join our games. the future of wage slavery, austerity, poverty, colonialism that the g7/d10 are plotting is not inevitable

TODAY THEM THAT BUILT SHIPS WILL SAIL IN EM

OTHER WORLDS ARE POSSIBLE

HERE COMES EVERYBODY

I met up with Tae Ateh just before Samhain and we shared a 1p LSD tab right down at the most southern base of the Belinius leyline. We did this to explore the psychic cybernetic situations we were currently being entangled in and in particular counteract some of the recent manoeuvres of the alt-right. Needless to say we were quite successful in our anti patriarchal endeavours and managed to dismantle various positions of the alt right and traditionalist Satanists including various of the patriarchal heroes such as Crowley, P-Orridge and Burroughs, which we dubbed the Patrix. The fallout from these manoeuvres was some minor losses of Facebook accounts of various comrade Neoists, Discordians and other assorted far Left Communists – through 30 day bans and then permanent disabling on the US election day shortly after Samhain/ Halloween and then on the Inauguration Day, the Aquarius Capricorn Cusp in January.

It was around some of these concerns that we made our plans for the Winter Solstice and the Great Conjunction that occurred on the same day. While Tae Ateh and I had planned to do a tour of invisible graffiti of slaver statues and freemasonic landmarks (see https://reclaimec1.wordpress.com/ ) ending with a return to the Tate Modern to complete a hexxxing we had begun with the strike of the hospitality staff there recently,  in order to hexxx these sites with Lettrist sigils and incantations. However the UK Gov announced a Tier 4 Lockdown a few days before solstice, no doubt they had become aware of the divers proletarian plans being made for the solstice and attempted to thwart these by sucking London into the fascist 4^th dimension.

Fortunately our comrades from the Neue eXperimemte in Triolektik und Psychischer Arbeit (NXTPA)  and Federation Internationale Autonome Situationniste Contemporain (International federation of autonomous contemporary Situationists) (FIASCo) had already foreseen this and arranged a re-enactment of the London Psychogeographical Associaiton (LPA) and Archaeogeodetic Association (AA) visit to St Catherine’s Hill (see http://empslocal.ex.ac.uk/people/staff/mrwatkin/conjunction.htm ). I contacted my comrades and rearranged so we could join them.

It was also clear to them, from their labours with the Luther Blissett League in London,  that the great conjunction was a cosmic game of 3 sided football and this was to mark the intergalactic  cup for 2020. The aim was to play the tournament at the maze on the hill, and enjoin with not just the stars and planets but also through e/mail and internet art networks to solicit dark data from matches and for these purposes we used a specially prepared tiktok account also. While the British government had banned any spectator sports, their Lenninist and Debordist recuperation and reductionism of anti-spectacular situationism (no spectators – except the state! Or in Debords case – no spectators except for the situationists!!) was avoided through technologically amplifying participation through the collective labour of ourselves and our comrades.

Usually DAMTP groups are consisting of 1 person associations – so while FIASCo is a 1 person group, NXTPA is an unknown number. To the unitiiated it could be any number even 2 or more. Infact it has 0 members, multifarious operatives. However I wish to introduce here a proletarian or situgraphical number system to recount members. If we think of situgraphical as a triolectical or base 3 system of counting we can say there are 3 numbers: 0,1 and ∞ (where ∞ signifies many and 0 signifies the 0riginal/ original – therefore the first member of any psyhcogeographical group is in fact the 0^th and not the 1^st. While this should please our Hurufiya or Asemics amongst us our Nuqtaviya comrades may wish for the number to .,0,1 – where the first numeral is in fact a “.” not as a full stop but as a (so-called) “decimal” point. At any rate, with a more situgrahical numbering system,  I think we can safely say that the NXTPA has only 1 member.

It convention that a coven is known as 12 or 13. King Arthur’s knights numbered 24, as does the British monarchy’s Order of the Garter. In order to avoid such reactionary masonic capitalisations we decided on 6 for the hex. However to take a triolectical situgraphy our number was ∞  as all couples are therefore thruples or indeed infinites in our system. A hex is thus 1∞ although Ultra Nuqtaviya innovations maybe of  -,0 and .  or even 0 1 -1, and in order to obtain Octonians 0, -1, -1² or 0, 1, 2/3

Considering all this, we could say that ∞ or sum (3) of us travelled by car – myself and Tae from DAMTP (ÐعŲM委п /DAta Miners & Travailleurs Psychique/ DعðŲ Miners психический 工人委 ال ) and also Tae from the Belarus Underground Anti Art Gallery. Our comrades from the NXTPA and FIASCo who also numbered ∞ came by train.

We met at Winchester Cathedral, a full hexxx, where we had a peak at the King Arthur’s table hung from the wall like a hunting trophy Christ.  We discussed scoring systems – the score as a predetermined – 1 goal only to be scored. Like a musical score, predetermined settled score. In this situation there are 4 combinations: 000, 100, 110 and 111. If we were to limit the scores to 0,1 or ∞ then there are 27 possible scores. The Nuqtaviya position might well be “-“, “0” or “.” scores and would begin the game in a negative space.

On our way to the Dongas and St Catherine’s Hill we discussed the recent us election and the maneuvers of the alt right – in particular the use of chaos majik by sections of the right – from the Eurasianists to the Cult of Qanon and Kek. Tae Ateh from the FIASCo presented us with the snowflake sigil as uncovered recently by London psychogeographers at the River Pool Linear Park ( https://www.closeandremote.net/portfolio/here-comes-everybody/ ).  Where the star of chaos, still used by Discordians – but also by fascists such as the Eurasian Movement, has arrows pointing out in 8 directions from the centre showing imperial expansion), the snowflake has 6 arrows, in the formation of a 3sf pitch, but pointing inwards – to signify unity . We decided to put it to immediate use and vandalize the Winchester College gates with this letter.

As we approached the sacred Dongas a minor schism occurred with 1 Tae Ateh going 0 way and 00 Tae Ateh going 1 way. We were reunited at the maze and noted that scvhisms and isms don’t really matter, as long as the destination is the same we are bound to be reunited if successful. Fittingly, once we were atop St Catherines Hill we also met a hex of fellow witches gathered round a fire in the woods. We shared stories and jokes with them as we prepared for our games. Our number was now 12 as that of a conventional coven. We called Tae Ateh on the phone to make 13. Tae had been here in 1994 for the last conjunction – as part of the LPA and AAA trip. We were happy that our new local friends had also been here before, with the Donga tribe at the time of the resistance to the Newbury Bypass. We are confident that our majik therefore allowed full entanglement with the highest offices of the bourgeoisie.

Following the solstice Tae Ateh found herself visiting Tintagel in Cornwall the mythical birth place of King Arthur. From there they were drawn into psychic battles with the secret state via Crowley to a cottage in Zinnor where they used the snowflake sigil once again to counter the malignant activities of right wing and patriarchal chaos magicians. Finally it was revealed to her that NATO and the CPC would be staging a face 2 face confrontation on the summer solstice. It seemed her revelations were substantiated somewhat when it was revealed that the UK government is to host a G7 meeting which they are also referring to as D10.  this G7 – combining the allies and the axis power of ww2 has colonial states of India and Australia as well as South Korea. Clearly a preclude to the solstice confrontation.

So while our winter solstice intergalactic cup rages on, we decided to organize a series of games at sum selected sacred and profane sites around the red zone at Carbis Bay. As well as Tintagel, Nigel Ayers research into the Bodmin Moor Zodiac shows some of the spiritual energy lines that the bourgeoisie will be aiming to use for their nefarious genocidal plans and we have also identified some other sites, such as Goonhilly Space Base and indeed the Tate gallery in St Ives, where we will be creating 3sf situations of quantum Lettrist entanglement. But more on that soon.

Tae Ateh, Capricorn, Aquarius cusp, 13PC (2021)

जादू कर्मचारियों की हड़ताल

2021 का महीना
जादू के बिना महीना

महान संयोजन:

hexxx श्रमिकों की हड़ताल – के खिलाफ भड़काऊ मंत्र
बुर्जुआ सफेद वर्चस्ववादी पितृसत्तात्मक कुलीन वर्ग
शासक वर्ग उर्फ
सर्वहारा क्वांटम लेट्रिस्ट सेक्सएक्स माजिक के साथ
महान संयोजन के घंटे के दौरान
सोमवार 21 दिसंबर को जादू श्रमिकों का एक छोटा समूह एक मनोवैज्ञानिक दौरे का आयोजन करेगा – 80 के दशक के भित्तिचित्र लेखक “बमबारी होड़” कहेंगे, बेशक यह सैन्य भाषा, हड़ताल से लेकर बमबारी तक, एक पितृसत्तात्मक और विनाशकारी श्रमिकों के अवशेष हैं उत्पादन की स्थितियों के हेगामोनिक नियंत्रण और इसलिए हम इस शब्द को इस तरह की स्थितियों को पुन: उत्पन्न करने या संगठित या अव्यवस्थित करने की इच्छा से नहीं, बल्कि उन लोगों के प्रति एकजुटता में एक “सलामी” के रूप में देखते हैं।
मजदूर वर्ग “पुरुष” यानी विनाशकारी कामगार जो बुर्जुआ वर्ग के लिए ऐसे काम करने के लिए शाब्दिक बंदूक की नोक पर मजबूर होते हैं। युद्ध में कोई गौरव नहीं है और हम युद्ध स्मारक को “बर्बरता” करेंगे
अदृश्य भित्तिचित्रों के साथ हम एक विशेष रूप से तैयार और धन्य अपवित्र जल का उपयोग करेंगे, जिसके साथ हम शहर में विभिन्न विशेष रूप से चुने गए लक्ष्यों पर अदृश्य अक्षर, सिगिल, संकेत और अस्वाभाविक नारे लगाएंगे, हमारे लक्ष्यों पर कुछ विवरणों के लिए पुन: प्राप्त करें।
https://reclaimec1.wordpress.com/

पहले हम कला हमलों, मानसिक हमलों, मानव हड़ताल को कहते हैं। हम कहते हैं कि कला समाप्त हो गई। कला का बहिष्कार करें। लेकिन आगे भी हम कहते हैं कि और आगे बढ़ें। हम एक हेंक्सएक्स कर्मचारियों की हड़ताल और सभी माजिक के संयम का आह्वान करते हैं – हो सकता है कि 2021 कला, विज्ञान के बिना महामूर्ख हो, माजिक के बिना – हम बुर्जुआ प्रणाली, उसके संस्थानों या प्रतिनिधियों के लिए किसी भी माजिक का उत्पादन करने से इनकार करेंगे। इसके बजाय हम सभी गतिविधियों को क्रांतिकारी संगठन की ओर निर्देशित करेंगे और हम दूसरों को भी ऐसा ही करने की माँग करेंगे। स्कैब्स को बर्दाश्त नहीं किया जाएगा

wwwinter solstice – the great conjunction:
hexxx workers strike – banishing spell against
bourgeois white supremacist patriarchal elite
aka the ruling class

with proletarian quantum lettrist sexxx majik

during the hour of the great conjunction
on Monday 21st December
a small group of hexxx workers of the
London institute of comparative terrorism, will be conducting a psychogeographnical tour – what graffiti writers of the 80s would call
a “bombing spree”, of course this military language, from strike to bombing, are remnants of a patriarchal and destructive workers hegemonic control of situations of production and so we detourn this term not out of a desire to reproduce such conditions or organising or disorganising, but as a “salute” in solidarity to those working class “men” ie destructive workers who are forced at literal gunpoint to do such work for the bourgeoisie. there is no glory in war and we will “vandalise” war memorials
and cenotaphs with invisible graffiti we will be using a specially prepared and blessed unholy water with which we will paint invisible letters, sigils, signs and asemic slogans on various specially chosen targets in the city
see reclaim ec1 for some more details on our targets https://reclaimec1.wordpress.com/

finally we will cross the millennium bridge to the tate modern. the bridge, from st pauls to the modern symbolises the ascent of the bourgeoisie
from worshipper to worshipped, from the system of the church headed by the queen as representatives of god, to the system of the bourgeoisie as divinity with art and science as its revealed religion. for our previous preparatory work against the tate please also see https://www.psychogeography.org/tate-strike/

we will cover the bridge with quantum letterist gateways and portals to prevent this – the aristocracy and the bourgeoisie will only be reconciled under the dictatorship of the proletariat. henceforth anyone crossing that bridge will be proletarianised as a threat to both institutions – church and state the tate itself, recently caught out covering up for a rapist racist anthony d’offay, of trying to buy off artists like rasheed araeen instead of honouring the history of black and brown people in art history all reveals art is a sham even more hollow than religion. and yet fellow workers cling to it with even more blind faith and belief and love… recently the arts council has flung a few scraps of money to artists in order to buy complicity. next came redundancies of non-artist workers- and the artists were mostly silent. the arts council is now preparing a policy to defend its racist statues and colonial heritage from BLM and the great revolutionary tide that is sweeping earth.

previously we have called art strikes, psychic strikes, human strike. we say abolish art. boycott art. but even further we say go further. we call on a hexxx workers strike and an abstinence of all majik – for may 2021 to be a month without art, science, without majik – we will refuse to produce any majik for the bourgeois system, its institutions or representatives. instead we will direct all activities towards revolutionary organisation and we DEMAND others do the same. scabs will not be tolerated

“Interviews with Belarusian cultural workers at strike”

Protests in Belarus continue to happen. Now, let’s focus on the Belarusian cultural workers at strike: from museum workers to cultural journalists, from students of Academy of Arts to actors of Yanka Kupala theatre. Do cultural workers have specific demands? Or have they joined protests with general demands? Let’s try to understand it. Please, donate money to support the project of our mini-gallery of underground anti-art in Belarus – http://www.juryurso.org/mini-gallery-of-underground-anticulture-in-belarus-donations/

“Интервью с протестующими беларускими культурными работниками” Протесты в Беларуси продолжаются. В нашем фокусе – протестующие работники беларуской культуры: от музейных работников до культурных журналистов, от студентов Академии Искусств до актёров театра Янки Купалы. Если у протестующих культурных работников какие-то определённые требованья? Или они подключились к протестам с общими требованьями? Давайте попытаемся в этом разобраться.. Пожалуйста, пожертвуйте деньги, чтобы поддержать наш проект мини-галереи андеграудного антиискусства в Беларуси – http://www.juryurso.org/mini-gallery-of-underground-anticulture-in-belarus-donations/

Юрий Урсо, 24 августа 2020

also:

Help Belarusian artist Alexei Kuzmich

Alexei Kuzmich is a Belarusian performance artist who is famous for provocative political art actions:

“On polling day in the Belarusian presidential elections on 9 August, the performance artist undressed himself at his local polling station in Minsk, sticking his polling card — which he’d emblazoned with a phallus — onto his bare chest” (https://www.calvertjournal.com/articles/show/12065/belarusian-police-brutality-protest-minsk-performance-artist-alexei-kuzmich).

After his performances on the election date, police broke into his home and arrested him. He has spent 3 days in jail being violently beaten. Belarusian authorities continue to look for him even after his release. Aleksei is now forced to go into exile and is in desperate need of your financial support.

All funds will be used to help the artist to survive!!!!

https://www.gofundme.com/f/help-belarusian-artist-alexei-kuzmich

Tate workers are on strike this week against planned redundancies being made by the management of Tate Enterprises Ltd. We responded to this in our comunique: https://www.psychogeography.org/tate-bastard/

It should also be noted that redundancies are also taking place just across the river at the Southbank https://saveoursouthbank.com/ – and across London alone, thousands of jobs in the arts have been lost in the last month.

We have also seen in education, eg at Goldsmiths arts college that it is the worst paid, least protected and most precarious workers that are often at risk and victim to the measures anti worker and capitalist policies of management in arts, from the government and commercial companies.

it has proven impractical for workers to organise and solidarity even within the workplace or across jobs, let alone industries.

we were very disapointed therefore when PCS responded to our offer of a solidarity performance with the following:

Unfortunately this statement and proposal for performance does not meet our perspectives and we cannot condone it. While we appreciate your solidarity, the language in the writing goes too far and would be distressing to our colleagues (and fellow union members) working in the institution as well as our audience. Additionally, we don’t know that you are authorised to use the words or performance of the artist Rasheed Araeen and we feel that he could potentially be upset that his work is being used in this context.

Especially disappointing because despite claiming to be concerned that it was BAME employees most affected by these cuts they could not give a platform to uncompromising “Black British Art”.

We therefore decided to attend anyway, out of respect and solidarity for the workers. The Transient Art Strike Biennial Supreme Council of One spoke to the crowd relating how when they were artist in residence they had to insiti on a contract and then get the union involved when the Tate tried to disregard it.

We had decided not to do our performance and banishing spell as intended. Rasheed Araeen’s gallery had already stated that they were interested in the performance but we decided against this in respect to the wishes of the PCS.

The The Transient Art Strike Biennial Supreme Council of One then lead our small group of psychic workers to Queens Hithe to perform the banishing spell we had planed.

The banishing spell, in the end, utilised elements of asemic writing, psychogeography and metagraphy in order to create a comprehensive situgraphic field that we are confident will begin to show results very soon. The Workshop for a Non Linear Architecture opened the cubic mobius strip while evoL PsychogeogrAphix completed the construction on the shallow beach at the banks of the Thames.

We also visited sites of slavers and colonialists and those who supported them in London – including the statue of John Smith and a plaque and pub dedicated to Samuel Pepys.

Despite the disgusting anti-worker responses from the establishment, such as the threats of redundancies at the Tate, we are excited about some of the radical changes to the cultural landscape in this country over the last few months . The toppling of the Colston statue in Bristol being a particular high point and we look forward to seeing more proletarian, people led, transformative aesthetic visions of the working class continuing to engulf and liberate public space in the near future…

Henry Tate, the creator of the sugarcube and subsequent Sugar Cubism, hell bent on the alchemical subjugation of the working class continues this capitalist project even today. Just as sugar cubism was essential for that stage of colonialist and capitalist development and the subjugation of the working class, so is a sugar sprinkled and whitewashed modern art.

The current transformation of Tate into many subordinate companies is done to segregate workers so to control them in different ways – Tate Enterprises Ltd which is making these redundancies is tektologically sealed off from Tate Gallery itself. The cafe/shop business (the reproductive labour of art) as separate from the art gallery (psychic labour)- this structural separation of art and life is a characteristic of the common ground that Neoliberalism and Bolshevism share and is what allows the Tate to make these staff redundant while at the same time trumpeting their diversity and inclusion of black workers and artists.

It comes as no surprise that the Tate seeks to cast out its workers at their most vulnerable time. Just as it is no surprise that they sought just last year to cover up the sexual harassment and racism of their sugar daddy donor Anthony d’Offay, even when there was an active police case against him they tried to resume contacts with the serial abuser and to cover up the fact that he was still under investigation. see https://www.theartnewspaper.com/news/tate-resumes-contact-with-anthony-d-offay-after-sexual-harassment-claims-investigated

Or the accusations of persistent racism made by the Karachi-born, British artist Rasheed Araeen against Tate (“British art history is a whitewash”). He said the institution has failed to support his research project, The Whole Story: Art in Postwar Britain, which is an effort to challenge prevailing art histories which celebrate “only—and exclusively—the achievements of white artists” through a comprehensive publication and exhibition. Tate denied the accusations and said it is “committed to diversifying the canonical account of British and global post-war art.”

As mass redundencies sweep across Britain, concerns have been raised that these redundancies affect black and brown workers disproportionately – Tate is no exception. (see https://www.theguardian.com/artanddesign/2020/jul/26/tate-faces-protests-over-job-cuts-impact-on-bame-staff ). While the Tate makes hollow platitudes about BLM and diversity – citing the proportion of BAME workers in its staff – it simultaneously maintains the economic and cultural legacy of slavery and colonialism – as we go higher up the payscale and power ladder we find the air to be more and more white and more and more male. And when there is trouble it is those lowest in the chain who are being forced to bear the burden.

This is the situation that must be overthrown. As a recent open letter, by UK Artists 4 BLM, puts it: Intersectional democratic structures such as citizens’ assemblies – with artists as facilitators that acknowledge the invisible labour of how art is created by workers such as technicians, cleaners, kitchen and other gallery staff – must replace the current system of Boards of Directors, Governors and Trustees. We are proposing civic cooperation. The hierarchical division of labour on racial, gendered and ablenormative lines is encoded in the current structures of ownership and these must change. (see https://www.artsprofessional.co.uk/magazine/article/we-need-collectivity-against-structural-and-institutional-racism-cultural-sector )

To this end we present a banishing spell to rid the Tate Modern of the baleful influence of its bourgeois structures.

As part of this we will also recreate one of the pieces that the Tate wanted to acquire from Rasheed Araeen, namely Paki Bastard (Portrait of the Artist as a Black Person), that he has declared he will not allow them to show until The Whole Story is shown.

We support his art strike and yours. We also want to mention our solidarity for the Belarus union of artists on strike in Belarus at the moment against the control of political and artistic expression by capital and the state.

Most importantly we are here to support you as reproductive workers who maintain the conditions for artistic production and call on your support in fashioning new conditions for new forms of cultural production and other non-productive labour

DAta Miners Travailleurs Psychiq

OPEN LETTER BY RASHEED ARAEEN, Art Newspaper, 2018

I’m no longer in the habit of writing letters to the media. But I must respond to Tate which is attempting to cover its lies and deceptions of the last 60 years or so. The issue is not just about the prevailing nature of mainstream modern art history, from which non-white artists continue to be excluded, but also about art in post-war Britain and its persistent misrepresentation, particularly by Tate.

In 2002, I approached Tate with a proposal for The Whole Story, so as to help the institution recognise the achievements of black artists. But I faced persistent Tate evasiveness and delaying tactics as well as its paternalistic attitude towards non-white artists. Instead of recognising the imperial legacy of the prevailing Euro-centric art history, based on colonial ideas of white supremacy, it turned the whole thing into the problems of non-white artists and how Tate has been trying to help them. The recent acquisitions by Tate of the works of non-white artists, including mine, and their annual displays alongside work by white artists, are now being used as a smokescreen to hide the perniciousness of its institutional racism.

Having communicated with Tate for almost 15 years and dealt with its persistent refusal to do anything about what I had proposed regarding its Euro-centric art history, I then heard about the all-white exhibition Conceptual Art in Britain, 1964-1979, held at Tate Britain in 2016. I had no choice but to write a long letter to Sir Nicholas Serota (then director of Tate) on 16 January 2016 in which I denounced Tate’s imperialism which enshrined its institutional racism. He acknowledged my letter, and thanked me for it, without responding to any of the points I made. Instead he suggested we should meet and discuss the matter. We finally met on 1 September 2016 and then on 1 January 2017 in my studio which he was visiting for the first time. In both meetings, he thanked me again for my letter and promised to deal with my main concern about Euro-centric art history, from which I assumed he would accept my proposal for The Whole Story. However, he did not specify what he would actually do but instead spent most of his visits looking at my own work and praising it with a suggestion that Tate might acquire more.

He then sent curators Andrew Wilson and Ann Gallagher to my studio. They also spent all their time looking at my new paintings and praising them, instead of discussing the matter I had been discussing with Serota. They asked me to show them the video of my Paki Bastard performance which I did and they then left with a request for a copy of the video to be shown at Tate (which I’ve not given them nor will I).

As I had not recorded my discussions with Serota, I wrote to him again on 23 April 2017, reminding him about what we discussed in our meeting and asking him to confirm it in writing. I received a reply on 29 May 2017 which was not only contrary to what he had promised but disturbingly evasive, again, and negative. First, he used the very same arguments which he has been repeating for years about what Tate has been doing regarding black artists (acquiring their work and displaying it) and that this was sufficient and thus there was no need for Tate to pursue what I had proposed. Here is what he said:

“…we could not publish The Whole Story in the form you originally envisaged…I don’t think there is an appetite to publish another, but more complete, narrative of the post-war period. We are planning displays that will look across decades and in conjunction with these I could imagine that we might commission a series of publications that would examine periods such as the 70s or 80s in some depth.”

This was the end of The Whole Story project as far as Tate was concerned. What I find most disturbing was not merely that Tate wanted to do things in its own way and in its own time but that it considered it okay to totally disregard, in such a blatant, disrespectful way, what had already been done in this respect. When I sent The Whole Story project to Tate about 15 years ago, it contained details of the 20 prominent art historians and writers I had persuaded to contribute to the project by each writing a chapter of the publication. Ten of these have now been completed. But for Tate this had no value.

Why was it necessary for Tate to accept this project? Tate is Britain’s flagship art institution and whatever it does or does not do is followed by the whole country. Art histories are written on the basis of what Tate recognises and promotes. It is therefore its job and responsibility as a public institution to tell the truth to the art community, if not society about what society has achieved historically in art. But it has not only not fulfilled this responsibility but has been acting against its own institutional charter and mission. The question now is why does it remain complacent? Why does it continue with its lies and deceptions? The simple answer to this seems to be that there has been no public debate about what Tate does and does not do, no one has publicly challenged Tate about its policies and programmes of the last 60 years or so. Why have its historical shows always been exclusively about the achievements of white artists? Without this debate, Tate will continue to misrepresent what Britain has achieved. We need to expose and discuss art institutional racism and its consequences. I have decided to have nothing to do with Tate, to receive none of its curators in my studio or have discussions with them or allow them to show my work until this discussion begins in earnest.

Rasheed Araeen, London

ПА-БЕЛАРУСКУ:
Прайшло некалькі дзён з пачатку адных з самых буйных пратэстаў за ўсю гісторыю Беларусі. Людзі прачнуліся! Некаторыя радыкальныя (анты)мастакі і (анты)культурныя дзеячы дасюль у засценках рэжыма, іх лёс невядомы. Адназначна, што існуючы рэжым не зрабіў анічога для дзеячаў культуры і мастацтва, таму ў ягонай змене зацікаўлены ўсе, уключаючы радыкальных (анты)культурных дзеячаў і (анты)мастакаў! (Анты)культурныя дзеячы заклікаюць да ўсеагульнай забастоўкі культурных працоўнікаў! Мясцовыя бізнэсоўцы і дзеячы культуры, якія жыруюць ад існуючай улады, працягваюць падтрымліваць яе і гатовыя да таго, каб выклікаць міліцыю нават на сваіх жа сяброў-мастакоў. Буржуазныя мастакі і галерысты не зацікаўлены ў пратэстах, таму што пратэсты замінаюць іх бізнэсу! Пара спаліць стары Савецкі сцяг, які замінае нам амаль стагоддзе, з Рэвалюцыі, замінае існаванню сапраўды рэвалюцыйнай культуры і мастацтва.
Юры Урсо, 13 жніўня 2020 года

IN ENGLISH:
We have had the strongest protests over the last few days, the strongest in the whole history of Belarus. The people have awakened! Radical anti-artists and anti-cultural workers are still imprisoned. Their fate is yet unknown. It is obvious enough that the current regime did nothing for arts and culture workers. That is why not only we, radical anti-cultural workers and anti-artists, are interested in its change, but so are people from the cultural fields. We want a general strike of all (anti)cultural workers! Local businessmen and cultural workers that get money for being loyal to the state continue to support the current regime and are ready to call the police even on their own colleagues. Bourgeois artists and gallerists are not interested in protests, because protests are not good for business! The time has come to burn the old Soviet flag which was the main obstacle of the last century, since Revolution, of truly revolutionary art and culture!!!
Jury Urso, 13th august 2020

ПО-РУССКИЙ:
Прошло несколько дней одних с начала самых мощнейщих протестов за всю историю Беларуси. Люди проснулись! Радикальные антихудожники и антикультурные работники до сих пор находятся в застенках режима, их судьба неизвестна. Это очевидно, что текущий режим ничего не сделал для работников культуры и искусства, поэтому в его смене заинтересованы не только мы, радикальные антикультурные работники и антихудожники. Теперь в его смене заинтересованы и все остальные! Призываем к забастовке культурных работников! Местные бизнесмены и работники культуры при кормушке всё равно продолжают поддерживать существующий режим и готовый вызвать полицию даже на своих же коллег по цеху. Буржуазные художники и галеристы не заинтересованы в протестах, потому что протесты мешают их бизнесу! Пора сжечь старый Советский флаг, который мешал почти столетие с Революции для существования истинно революционной культуры и искусства!!!
Юрий Урсо, 13 августа 2020 года

Report from DAMTP ABRACADABRA

12 proletarinio kalendoriaus metais (pasen. 2019 m.) vykstanti Alytaus bienalė skirta nuo 1993 m. pradėtų eksperimentinio pobūdžio reiškinių, vėliau įgavusių Alytaus meno(psicho)streiko bienalės pavidalą apibendrinimui.

Šiuo tikslu rugpjūčio 10-30 dienomis Alytaus bienalė buvo vykdoma 5 valstybėse prie Juodosios jūros. Būtent šioje teritorijoje materializavosi dauguma per visus šiuos metus Alytuje generuotų idėjų, čia surado savo poilsio vietą Alytuje vykdytų renginių dalyvių svajonės.

Psichodarbininkų sąjunga kvietė visus, kuriuos domina dvasiniai ieškojimai ir atradimai, pokalbiui prie situografų Alytuje ir Vilniuje:

Situografas Alytaus dailės mokykloje (S. Dariaus ir S. Girėno g. 25, Alytus)

pradedamas konstruoti 2019 m. spalio 15 d.

pristatymas – spalio 30 d. 17.00 val.

Situografas J. Meko vizualiųjų menų centre (Malūnų g. 8, LT-01200 Vilnius)

2019 m. lapkričio 14 d. – gruodžio 7 d.

pristatymas – lapkričio 14 d. 18.00 val.

(kaip jau Lietuvoje įprasta, atsineškite žvakių)

Suprasdami, kad gali kilti keblumų dėl terminologijos ir atskirų istorinių faktų traktavimo, pateikiame situografuose naudojamų sąvokų bei faktografijos sąvadą:

Musulmonų Hurufijus (letristas) Fazlala Astarabadis pseudonimu Naimi išpranašavo ir savo kankinio mirtimi 1396 m. Alenčėje (dabartinis Azerbaidžanas) atvėrė naująjį amžių – Dieviškumo amžių (mes jį paprastai vadiname kapitalizmo įsigalėjimo laikotarpiu). Tai laikmetis, kuomet žmogus panūdo prilygti Dievui.

Talmude (Kesubos traktate) yra teigiama, kad žydai nenaudos fizinės jėgos, kad įsteigtų savo valstybę, kol neapsireikš Mesijas iš Dovydo namų. Psichodarbininkai laikosi nuostatos, kad tas Mesijas buvo Isidoras Isou, kuris 1946 m. publikavo Letristų manifestą ir tokiu būdu ne tik iniciavo Izraelio įkūrimą, bet jo mirties data žymi ir Dieviškumo (kapitalizmo) amžiaus pabaigą.

1925 m. sausio 29 d. Botošanyje gimė Isidoras Isou.

1942 m. kovo 19 d. Isou pamatė pirmąsias vizijas, kurios vėliau nugulė į letristines idėjas.

2005 m. įvyksta pirmoji Alytaus bienalė kaip IAPAO (2004 m. susirinkimas Bandunge) susitarimas visame pasaulyje vienu metu surengti šimtus kontrbienalių, ir tokiu būdu pradėti Dieviškumo amžiaus agoniją.

2007 m. liepos 28 d. miršta Isidoras Isou. Paskelbiama Alytaus meno streiko bienalė. Tais pačiais metais Belle korporacija Tsukuboje atranda tetrakvarko būseną (egzotinį mezoną), kuris pavadinamas Z(4430). Nuo šių metų pradedamas skaičiuoti proletarinis kalendorius (PC), kurio nuosekliai laikosi Alytaus bienalės organizatoriai.

1PC (pasen. 2008 m.) – surengiama tarptautinė Alytaus meno streiko konferencija, nukreipta prieš Vilniaus Europos kultūros sostinės (VEKS) kapitalizmą.

2PC (pasen. 2009 m.) Alytaus meno streiko bienalė. Įkuriama Psichodarbininkų sąjunga DAMTP. Mirusieji darbininkai apsireiškia psichodarbininkams Harto saloje Niujorke.

3PC (pasen. 2010 m.) Mirusiųjų darbininkų sąjunga DEWOU-DAMTP apsireiškia Dartingtono kapinėse.

4PC (pasen. 2011 m.) Alytaus psicho[meno]streikas – Pasaulinis psichodarbininkų kongresas.

5PC (pasen. 2012 m.) Psichodekolonizacijos konferencija Alytuje.

6PC (pasen. 2013 m.) Alytaus psicho[meno]streiko bienalė – Desa-Kala-Patra. Priimamas sprendimas nebevartoti termino paroda, o vietoj jo naudoti situografo (desakalapatragrafo) pavadinimą.

7PC (pasen. 2014 m.) Pirmasis trišalio futbolo čempionatas Silkeborge – pirmasis DAMTP bandymas reproletarizuoti triolektiką.

8PC (pasen. 2015 m.) Alytaus psicho[meno]streiko bienalė – Revoliucinis animizmas. IWW oficialiai atsiriboja nuo psichodarbininkų, neproduktyviųjų, reprodukcinių, destrukcinių ir mirusiųjų darbininkų iš 007/700 sektoriaus. Įkuriamas IWW – Illegitimate Workers of the World. Alytuje išrandamas ir pirmąjį kartą žaidžiamas kvantinis trišalis futbolas. CERNe atrandamos dvi pentakvarkinės būsenos (egzotiniai barijonai): P+c(4380) ir P+c(4450) – jų atradimą buržuaziniai mokslininkai įvardina kaip „atsitiktinį“.

9PC (pasen. 2016 m.) Pirmasis kvantinis fluxfutbolo lygiadienio festivalis (FQFFEF) Londone, Amsterdame ir Kararoje.

10PC (pasen. 2017 m.) Kathalytus psichostreiko bienalė. DAMTP subyra į frakcijas.

11PC (pasen. 2018 m.) Trišalio futbolo pasaulio čempionato proletarinis-animistinis psichoegzorcizmas Madride.

12PC (pasen. 2019 m.) 8-oji Alytaus Bienalė: SANKABA (SitugrAfiNė KvAntumpiligriminė kelionė nuo Botošanio iki Alenčės).