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Unveiling the Invisible. Artistic production and non-artistic labour in the works of Maria Eichhorn, Maja Bajevic, and Otobong Nkanga.
No full textThis thesis explores the intricate relationship between art, work, labour, production, and reproduction, examining how artistic practices incorporate various forms of labour to comment on the organization of production. Rather than arguing that artists dissolve their work into non-artistic practices, it contends that art maintains a dialectical relationship with labour, expanding its disciplinary boundaries and scope by engaging with different modes of production.The dissertation is structured into eight chapters. The first chapter introduces the discourse on work and labour within the field of art. The second chapter analyzes the works of Maja Bajevic (Etui, 2005; Women at Work, 1999–2001; Arts, Crafts, and Facts, 2015), focusing on how they reflect the precariousness of labour as it extends from the domestic sphere into the industrial field. The third chapter establishes the methodological framework, drawing connections between work, labour, production, and reproduction.The fourth chapter examines how avant-garde and conceptual artistic practices negotiate, extend, or reject the autonomy of artistic production in relation to other forms of labour. Through the works of Varvara Stepanova, Bonnie Ora Sherk, and Mierle Laderman Ukeles, it argues that while Stepanova dissolved artistic skills into the industrial field, Ukeles and Sherk redefined maintenance and service labour as art.The fifth chapter delves into Maria Eichhorn’s exhibition Money (Kunsthalle Bern, 2001) as a case study on the intersection of artistic labour and institutional maintenance. It argues that Eichhorn’s practice moves beyond the exhibition format to intervene in the structural operations of art institutions.The sixth chapter examines the relationship between artistic practice and cognitive labour through the works of Santiago Sierra, Ai Weiwei, Ina Wudtke, kleines postfordisches Drama, and Rimini Protokoll. The seventh chapter challenges the dominant discourse on the increasing cognitive and affective nature of labour by exploring the works of Adrian Paci, Revital Cohen & Tuur Van Balen, Jens Haaning, Pawel Althamer, and Mika Rottenberg, which expose the invisible, gendered, and racialized structures underpinning the global organization of labour.Finally, the eighth chapter investigates emerging artistic tendencies toward sustainable production through an analysis of Otobong Nkanga’s Carved to Flow (2017). It explores how discursive and organic production enter the field of art, aligning with the art public’s growing orientation toward social and environmental consciousness.Overall, this dissertation provides a comprehensive examination of how artistic practices engage with contemporary conditions of production and consumption, contributing to broader discourses on labour, production, and reproduction
The spectacular enlargement of the Bundestag and the long road to the 2023 German electoral law reform
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