Virtual residency at Studio 47:


During her virtual residency at Studio 47, Rebecca will use an embedded Google Slides document to record and share her work in progress towards a scripted performance, to be presented at the Sandberg Graduation Show in June. In the upcoming months, “WORKING TITLE, WORKING CLOTHES” will act as a prop for Stephany’s research into the figure of the artist, and her body specifically, as the main site for creative self-exploitation and self-realization. Most recently, she has been probing the post-refusal potential of letting one’s own polyphony of roles, positions and desires collide and clash in plain sight and how to make use of the heat that this produces.


While all our work takes place inside an economic system that has no outside and any strategy of refusal is happily appropriated by capitalist discourse – what’s the job of the artist in this tight bondage of creativity? Can we complicate the digestion of our labor by eating meat before salad, by activating different speeds and complexities of economic exploitability? Or create moments of slippage for the logics of commodity and money altogether? Feminist issues are inseparable from issues of labor, after all.


Why make one’s process public, as an exercise in permeating one’s vulnerability? As a festishized deadline, a self-inflicted pressure to perform? Then again, isn’t the decision to publish a work in progress becoming a work in and of itself? Or a strategic flirt, leaving one’s vulnerability rather disembodied than exposed? I share what I can afford to circulate in the absence of my voice. Comments from the sidelines.


We speak while we think and publish ourselves while processing our thoughts.



A New Divide – Social and Economic Challenges in Contemporary Design, conference at the Goethe Institut Amsterdam and GFZK Leipzig; organized by Barbara Steiner; together with Elizabeth Klement, Bart de Baets, Stuart Bailey and Radim Peško


At first glance, it seems that the former divide between applied and fine arts has been replaced by a new separation—i.e., the distinction between creative economy and the visual arts. At closer inspection, however, it becomes obvious that any boundaries between different creative fields are far less significant than the economic divide that is to be found within these fields, for instance, within the visual arts as well as graphic design. On the one hand, conceptual approaches and critical practices in graphic design and in the visual arts are increasingly similar to each other, and in both fields, these practices are frequently connected to small-scale projects and largely dependent on public funding. On the other hand, commercially oriented ventures reach an impressive scale both in design and the visual arts. The two worlds hardly meet and the gap is growing. (Barbara Steiner)