Criticism/Theory, Periodical Softcover 144 pages Texts in English   New       EUR 18 ORDER

May #16, May Revue, 2016

This issue, realized with Claire Fontaine, positions itself in the many continuities of a previous one—May no. 4, published in October 2010, that presented a selection of foundational resources from the Italian feminist movements of the 1970s and 1980s (with texts by the Milan Women’s Bookstore, Carla Lonzi, Lea Melandri, Antonella Nappi, etc.) At the time, Fulvia Carnevale, an assistant of Claire Fontaine and the guest editor-in-chief, edited the group of texts and signed the introduction. 
The texts published here are for the most part interventions from two London symposiums that took place in 2015 and 2016, whose specific issues Claire Fontaine’s introductory text will illuminate. A number of these essays take direct inspiration from the textual sources introduced in May 4. With this second chapter, the revue seeks to trace an editorial line more emphatically marked by feminist questions stemming from this Italian history and to re-interrogate complex concepts such as self-abolition, self-consciousness and separatism—or, to cite Marina Vishmidt, to contribute towards a “way of thinking the affirmative and negative moments of any radical emancipatory movement.”

Criticism/Theory Softcover 66 pages 20 x 13 cm Texts in English   New       EUR 10 ORDER

Claire Fontaine, Human Strike Has Already Begun & Other Writings, Mute, 2013

The term ‘human strike’ was forged to name a revolt against what is reactionary even – and above all – inside the revolt. It defines a type of strike that involves the whole of life and not only its professional side, that acknowledges exploitation in all the domains and not only at work. The human strike is a movement that could potentially contaminate anyone and that attacks the foundations of life in common; its subject isn’t the proletarian or the factory worker but the ‘whatever singularity’ that everyone is. This movement isn’t there to reveal the exceptionality or the superiority of one group or another, but to unmask the whateverness of everybody as the open secret that social classes hide.

Founded in 2004, the Paris-based collective artist Claire Fontaine declares a position as a ‘readymade artist’. Having assumed the name of a popular French brand of notebooks, her practice centers on the production of works in neon, video, sculpture, painting and text. Her neo-conceptual art targets the exchangeability and disintegration of notions of authorship. Her position stems from the awareness of the shared condition of political impotence and the crisis of singularity within contemporary society today.

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