Art Struggles: Confronting Internships and Unpaid Labour in Contemporary Art
This article explores the practices of recently formed and mainly UK-based art workers’ collectives against unpaid internships and abusive work. The modes through which these collectives perform resistance involve activist tactics of boycotting, site-specific protests, counter-guides, and whistleblowing and name and shame approaches mixed with performance art and playful interventions. Grappling with the predicaments of work in contemporary art, a labouring practice that does not follow typical processes of valorization and has a contingent object and an extremely loose territorial unity, this article argues that while the identity of the contemporary artist is systemically and conceptually moving towards fluidity and open-endedness, these groups work to reaffirm a collective in whose name it is possible to advance certain claims, assumptions, and demands. The contradictions and dynamics of art workers organizing against internships and voluntary work within a highly individualized, self-exploitative, and often privileged field are useful for informing labour organizing in the framework of ongoing capitalist restructuring.
Special characteristics of modern employment demonstrate serious changes in the character and the content of the labour process. The phenomenon of “the end of labour in its classical sense”, which triggered heated debates in the end of the XX century, was described in details by British sociologist Z. Bauman in his work «The Individualized Society»:
“That situation has changed now, and the crucial ingredient of the change is the new ‘short term’ mentality which came to replace the ‘long term’ one. Marriages ‘till death us do part’ are now a rarity: the partners no longer expect to stay long in each other’s company. According to the latest calculation, a young American with a moderate level of education expects to change jobs at least eleven times during his or her working life – and that ‘job-changing’ expectation is certain to go on growing before the working life of the present generation is over. ‘Flexibility’ is the slogan of the day, and when applied to the labour market it means an end to the job ‘as we know it’, work on short-term contracts, rolling contracts or no contracts, positions with no inbuilt security but with the ‘until further notice’ clause” [Bauman 2001, p. 24].
Rising on the wave of industrialization, after the transition to the postindustrial, information epoch, labour is losing its past significance. More and more people consider labour as a heavy routine and would like to get rid of it forever. And especially in the circumstances of depressive aggravation of the so called global problems, which have not only been left unsolved since they were identified by the Rome club, but continue to forebode humanity death from ecological catastrophes, depletion of natural resources, incurable diseases, the planet’s overpopulation etc.
There are obvious dramatic changes in the labour and employment sphere. After the transition to the postindustrial economy, classic labour (as a hard, back-breaking work, focused on achieving a material (embodied) result) ceases determining the sense of human existence.
The aim of this article is to study an influence of various cultural festivals in St. Petersburg on development of the creative industries in the city. The definition of prospects of the development of culture of «Russia’s Northern Capital» demands the analysis of an existing scientific and administrative discourse concerning interaction in a city on Neva the rich cultural heritage and new creative industries. The situation of St. Petersburg as а large European cultural center and one of the important cities of the Russian Federation allows to define prospects of its development as «creative city». It includes also the analysis of cultural, social and economic consequences of the development of festival movement.
The aim of the study is to examine the various forms of interaction between cultural heritage and creative industries to support the development of various types of cultural clusters in St. Petersburg. The study was based on a model, which provides several types of partnership cultural heritage (CH) could have with the creative industries (CI): CH as a “decoration” for the CI, as “content”, as a “brand”, as the creator of the needs. Authors’ classification of cultural clusters in St. Petersburg is described, including clusters of cultural heritage, ethnic cultural clusters, the mass-cultural (consumer-oriented) cultural clusters, art - incubators. One of the main findings is the low willingness of many public cultural institutions to have any form of interaction with the creative industries. The second group of findings concerned the ability to attract creative industries to provide services for residents of St. Petersburg in cooperation with public institutions of culture.
The aim of the study is to analyze the role of the new creative industries for the regional development of the cultural heritage. It is particularly concerned with the definition of the city space. The research focuses on the modern ways of not only conservation, but rather analysis, interpretation and consumption of various cultural products. This paper includes investigation of economic, political, social and cultural consequences of the interaction between different cultural establishments. The author of this article researches the creative industries with the examples of the creative clusters and the creative projects in comparison with traditional cultural institutions. In general this paper provides evidence for the positive cultural and social changes in the region by reason ot the development the creative industries in St. Petersburg
The article considers integration processes in various art forms and media sphere. The development of different communication systems demonstrates that the syncretic unity is destroyed by the inner urge to release the individual components in separate systems. On the other hand, in the isolated structures arises a desire for syncretism, which is often accompanied by the development of its destructive tendencies. The resulting synergetic effect leads to startling outcomes which, obviously, should be related to the most promising areas of contemporary art and media space.
The second publication of the international art center Kunsthaus Bregenz Arena (Austria).
Russia’s transition towards a market economy in the early 1990s called for new approaches to the regulation of employment relations in the post-Soviet era in order to strike a balance between employers’ interests and employees’ rights in modern conditions. Adopted in 2001, the Labour Code of the Russian Federation (hereafter: LC RF) contributed to solving the issue only partly, for it was actually passed as a compromise between different political forces. As a result, it consists both of provisions which can be implemented in the new context of the market economy and restrictions inherited from a planned economy.
It soon became apparent that Russian employment legislation was in need of further development to adapt to ever-changing socio-economic conditions and the increasing complexity of the employer-employee relationship resulting from globalization and technological progress.
This state of affairs resulted in extensive amendments to the LC RF, in particular in 2006, when the majority of the provisions were profoundly revised. However, previous experience shows that many aspects concerning the legal regulation of employment relations are far from being addressed, not least compliance with international standards and practical needs at a national level.
In this special issue of the ADAPT Labour Studies BOOK-SERIES the authors try to achieve a twofold objective: rate recent developments of Russian labour law from a practical and a theoretical point of view and reveal its new challenges.
Several approaches to the concept of fatherhood present in Western sociological tradition are analyzed and compared: biological determinism, social constructivism and biosocial theory. The problematics of fatherhood and men’s parental practices is marginalized in modern Russian social research devoted to family and this fact makes the traditional inequality in family relations, when the father’s role is considered secondary compared to that of mother, even stronger. However, in Western critical men’s studies several stages can be outlined: the development of “sex roles” paradigm (biological determinism), the emergence of the hegemonic masculinity concept, inter-disciplinary stage (biosocial theory). According to the approach of biological determinism, the role of a father is that of the patriarch, he continues the family line and serves as a model for his ascendants. Social constructivism looks into man’s functions in the family from the point of view of masculine pressure and establishing hegemony over a woman and children. Biosocial theory aims to unite the biological determinacy of fatherhood with social, cultural and personal context. It is shown that these approaches are directly connected with the level of the society development, marriage and family perceptions, the level of egality of gender order.