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Invisible Committee, ‘the name given to a collective voice bent on denouncing contemporary cynicism and reality’ (described by one of the members of the anonymous group), published a text in 2007 that hypothesised the ‘imminent collapse of capitalist culture’ that would arise from new waves of social contestation. Under the title The Coming Insurrection the text (denounced as a manual for terroris

About the book:Fourteen scholars who work on campus or in the theater address this issue of what it means to play offstage. With their individual definition of what “offstage” could mean, the results were, predictably, varied. They employed a variety of critical approaches to the question of what happens when the play moves into the audience or beyond the physical playhouse itself? What are the so

Published within the Paletten project: Editorial meeting – A Gathering Towards a Critique of the Contemporary.https://paletten.net/projekt/test-projekt

Fugitive publics do not need to be restored. They need to be conserved, which is to say moved, hidden, restarted with the same joke, the same story, always elsewhere than where the long arm of the creditor seeks them, conserved from restoration, beyond justice, beyond law. (Harney and Moten Citation2013: 63)Nearly ten years ago uprisings, occupations, self-organized platforms, demonstrations, publ

In the last years we have witnessed an increased number of experimental performances that engage with children. Shows made in collaboration and/or performed by children. Children on stage, children as our tour guides through cities, children leading us though darkness. There are many ways to analyze this ‘interest’ including curatorial schemes encouraging participation, funding agendas, institutio

This article discusses improvisational cultural practices in relation to sedimented processes and other modes of production. During the economic crisis on Europe’s south edge, extreme neoliberal policies experimented with new modes of social engineering. Yet, even in the face of such coercive systems, emergent cultural practices were improvising, testing their own radical alternatives, and produci

On the 11th November 2011, Mavili Collective – a group of artists and theatre makers – occupied the disused theatre building of Embros, in Athens, Greece. The occupancy installed itself as a “re-activation” and proposed an intense twelve-day programme of activities bringing together artists, theoreticians, dance/theatre makers, architects and the general public. The activities were devised out of