What is an Arts Assembly?

An Arts Assembly is a reflexive model for co-operation in the creative field. It unites a diversity of actors in new “formats” based on participatory action through peer-to-peer platforms. There are several Chambers of the Assembly.

The Value Chamber (aka the Auction Chamber):

This chamber was first conceived (during the collapse of casino-style markets) after the fashion of auctions: through bids and counter-bids according to a procedure. It can adopt various modus operandi depending on how its members ‘constitute’ it. Procedures for bidding “down” or “horizontally” or according to new criteria and rules are here made possible. Given the absurd volatility of market valuations, the Value Chamber is designed to provide non-monetary procedures for the evaluation – critical, practical, aesthetic, political, philosophical or otherwise – of artworks presented to it.

The determination of the modus operandi will be the work of a ‘Constituent’ Chamber, whose deliberate on the ‘Constitution’ of the Value Chamber. This will be approached by, firstly, determining the criteria for judgement of works. Secondly, the procedure for the valuation will be decided:

1. how the works are to be presented to the Chamber,
2. how they are deliberated opon (criticized in a closed Chamber, or in dialogue with the author, and the exact time given to each stage of this deliberative session, etc),
3. how the valuation will be assessed (a point system, or otherwise) or in some way produce a physical record of the valuation
4. how the results of the valuation may be represented (e.g. through a new artwork, through statistical diagrams, through throwing flowers or tomatoes…)

In any given locale or geo-cultural field, a different Membership of the Chamber, its Constitution, and Procedures, and Representation (which may be delegated to the Chamber of Public Secrets, below) will be the subject of a Valuation, which is clearly performative in character.

The Chamber of Public Secrets:

Many ideas, histories or movements are public, but not known. Others are suppressed, oppressed or distorted through their public presentation or absence thereof. This chamber develops strategies of representation, media events, exhibitions. Khaled Ramadan’s eponymous curatorial project is co-curating Manifesta 10.

This Chamber may be envisioned as a sort of ‘Foreign Ministry’ of the Arts Assembly, working with and/or exhibiting, broadcasting or bringing to the wider world the AA’s deliberations, valuations and outcomes. Given its exogenous role it may, however, in a inverse sense, use the AA as a deliberative, critical organ for evaluating its internal workings, and public processes of de-secretization. Their combination is a process of symbiosis.

The Chamber of Diversity and Pre-Universalism:

This Chamber is a cruscible for the cooking of philosophical raw material. It’s title springs from our conviction that it has long been time to get past the ‘posts’ — post-modernism, post-histoire, post-Soviet, post-colonial, post-national, etc. — and turn to the ideational creativity involved in formulating the oncoming epoch: the pre.

Among its initial foci has been the questions of diversity and universality raised by the constitution of the Value Chamber. Among its first members were people of a variety of cultures, including, for example, Roma-Gypsy, Lebanese, ‘straight’ and hybrid origins, and newly originating compositions.

The debate as to whether the very use of the “pre” is a reversion to the pre-“post”, i.e. the modern, or whether another universal process is possible.

The Copyist Chamber:

The Kamera Kopista, as it is also known, researches models of theoretical, performative, artistic and empirical knowledge; creative content; and creates copies of it and it’s context (the Art Assembly event itself) in other spaces, events and contexts. It claims that the avant-garde producer today is one that shares, copies and clones its work.  KK claims that the avant-garde producer today is one that shares, copies and clones its work, and wishes others to do the same.

The Arts Assembly is a Perpetuum Mobilεzation initiated by Ivor Stodolsky and Marita Muukkonen

The First (Pilot for a) ARTS ASSEMBLY  took place 20-22 November, 2009 on the Island of Suomenlinna,and at an open door session (Bar Llammas).

The Arts Assembly’s Open Door Party

Perpetuum Mobilε on Facebook
Saturday, 21 November 2009
19:00 – 23:55
Bar Llamas
Iso Roobertinkatu 14
Helsinki, Finland

Random Shots from the Pilot:

The AA in Gallery Augusta, Suomenlinna


  1. […] мы делали еще до «Манифесты», в Хельсинки, точнее, в Свеаборге, на острове рядом с городом, в 2009 году. У нас была идея […]

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