Art/Commons is the first book to theorise the commons from the perspectives of contemporary art history and anthropology, focusing on the ongoing tensions between art and capitalism. This study is grounded in an analysis of contemporary artistic and curatorial practices, which the author describes as practices of commoning, based on co-production, participation, mutualism and the valorization of reproductive labour. Mollona proposes a novel theoretical approach to current debates on the commons, and shows that art can provide both a language of anti-capitalist and post-colonial critique as well as a distinctive set of skills and practices of commoning.
In 1900, Sheffield was the tenth largest city in the world. Cutlery “made in Sheffield” was used across the globe, and the city built armored plate for the navy in the run-up to the First World War. Today, however, Sheffield’s derelict Victorian shop floors and industrial buildings are hidden behind new leisure developments and shopping centers. Based on an extended period of research in two local steel factories, this book combines a lively, descriptive account with a wide-ranging critique of post-industrial capitalism. Its central argument is that recent government attempts to engineer Britain’s transition to a post-industrial and classless society have instead created volatile post-industrial spaces marked by informal labor, industrial sweatshops and levels of risk and deprivation that divide citizens along lines of gender, age, and class. The author discovers a link between production and reproduction, and demonstrates the centrality of kinship relations, child and female labor, and intra-household exchanges to the economic process of de-industrialization. Paradoxically, government policies have reinvigorated working-class militancy, spawned local industrial clusters and re-embedded the economy in the spatial and social structure of the neighborhood.
Volta Redonda is a Brazilian steel town founded in the 1940s by dictator Getúlio Vargas on an ex-coffee valley as a powerful symbol of Brazilian modernization. The city’s economy, and consequently its citizen’s lives, revolves around the Companha Siderurgica Nacional (CSN), the biggest industrial complex in Latin America. Although the glory days of the CSN have long passed, the company still controls life in Volta Redonda today, creating as much dispossession as wealth for the community. Brazilian Steel Town tells the story of the people tied to this ailing giant – of their fears, hopes, and everyday struggles.
In 1900, Sheffield was the tenth largest city in the world. Cutlery “made in Sheffield” was used across the globe, and the city built armored plate for the navy in the run-up to the First World War. Today, however, Sheffield’s derelict Victorian shop floors and industrial buildings are hidden behind new leisure developments and shopping centers. Based on an extended period of research in two local steel factories, this book combines a lively, descriptive account with a wide-ranging critique of post-industrial capitalism. Its central argument is that recent government attempts to engineer Britain’s transition to a post-industrial and classless society have instead created volatile post-industrial spaces marked by informal labor, industrial sweatshops and levels of risk and deprivation that divide citizens along lines of gender, age, and class. The author discovers a link between production and reproduction, and demonstrates the centrality of kinship relations, child and female labor, and intra-household exchanges to the economic process of de-industrialization. Paradoxically, government policies have reinvigorated working-class militancy, spawned local industrial clusters and re-embedded the economy in the spatial and social structure of the neighborhood.
Volta Redonda is a Brazilian steel town founded in the 1940s by dictator Getúlio Vargas on an ex-coffee valley as a powerful symbol of Brazilian modernization. The city’s economy, and consequently its citizen’s lives, revolves around the Companha Siderurgica Nacional (CSN), the biggest industrial complex in Latin America. Although the glory days of the CSN have long passed, the company still controls life in Volta Redonda today, creating as much dispossession as wealth for the community. Brazilian Steel Town tells the story of the people tied to this ailing giant – of their fears, hopes, and everyday struggles.
Art/Commons is the first book to theorise the commons from the perspectives of contemporary art history and anthropology, focusing on the ongoing tensions between art and capitalism. This study is grounded in an analysis of contemporary artistic and curatorial practices, which the author describes as practices of commoning, based on co-production, participation, mutualism and the valorization of reproductive labour. Mollona proposes a novel theoretical approach to current debates on the commons, and shows that art can provide both a language of anti-capitalist and post-colonial critique as well as a distinctive set of skills and practices of commoning.
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