The FREE MUSIC SCHOOL is a song in art as a medium for transformation, knowledge, and transgenerational friendship. It is a meeting point for artists (musicians, dancers, photographers, sketchers, painters, sculptors, shamans, winegrowers,...) where reflection and passion are channeled to create new social, political and revolutionary experiences.
Arts of the Working Class: Ojos de Barrio
Hello, Barcelona!
Very soon you can pick up your copies at the Free Music School in Poble Sec, where we will have 3,000 copies available for distribution.
If you or someone you know is interested in selling the journal on the streets, contact Michael on WhatsApp or Telegram at +34 634 234 777. Street vendors keep 100% of their sales.
For businesses interested in advertising or becoming a vendor, contact Michael at mh@artsoftheworkingclass.org.
— Michael Hart, Sept 11, 2024
Arts of the Working Class is a multilingual street journal on poverty and wealth, art and society. Published every two months, street sellers earn money directly and vendors keep 100% of their sales. As a medium and platform, the newspaper creates special and sustainable connections between artists, workers, academics, urbanists, cultural and social institutions from different countries and languages and the most vulnerable members of society; those deeply affected by extreme poverty and disabled of participating of the kind of agency given to groups and individuals in the safe space of the academic field. This pursuit not only creates new ways of communicating and behaving around and through art, but also of direct redistribution and more sustainable dissemination of cultural capital: being space –material, immaterial– for participation in content production, discussion and dissemination.
Website:
https://www.artsoftheworkingclass.org/
Instagram:
https://www.instagram.com/arts_of_the_working_class/
Ferran reading journal #32 in Cadaqués, Summer, 2024.
Out now: Issue no.33 NEIGHBORHOOD WATCH
In collaboration with A*Desk With features by Abolitionist Jelly, Alba Feito, Amelie Jakubek, Amr Amer, Ana Alenso, Anonymous, CHTO DELAT INTERNATIONAL, Calla Henkel and Max Pitegoff, Carlos Casas, Carlos Delclós, Carolina Campos, Center for Plausible Economies, DMT, Dalia Maini, Dani Gasol, Danielle Brathwaite-Shirley, Diana Padrón, Désiré Feuerle, Eli Cortiñas, Faltas, Fito Conesa, Gisela Chillida, Federico F. Giordano, Gitschiner 15, Glòria Guirao Soro, Grayson Earle, Helios (Ilyas) F. Garcés and Nancy Garín Guzmán, Iconoclasistas and Constanza Mendoza, Inés Plasencia, Irina Mutt, Jeremy Deller, Jokkoo Collective, MMX (María Inés Plaza Lazo, María Inés Plaza Lazo, María Muñoz-Martínez, Michael Hart, Miralda, Montse Badia, Nuria Güell, Pilar Cruz Ramón, Rico Zyrrano, Ro Caminal, Sara Ouhaddou, Selma Selman, Shibboleth, Taína Cruz, Tracey Snelling, and Xavier Acarín), ver.di.
Journal #33 made in collaboration with A*Desk – Critical Thinking. Arte Contemporáneo Barcelona.
Maykson Cardoso: Walter Benjamin As An Archaeologist (Day 3)
Day 3:
What would a “Benjaminian archaeology” be? Presentation of other research related to a Benjaminian archaeology (Christine Buci-Glucksmann; Marc Sagnol; Josef Fürnkäs; Christian Emden; Knut Ebeling; Nadine Werner).
Class Description:
*This class will be taught in Portuguese.
The metaphor of archaeology as a metaphor for a [philosophical] method of analysis dates back to Kant and was later used by Freud, Benjamin, Husserl, Foucault, Agamben, among others. In the course “Walter Benjamin as Archaeologist,” we propose to go beyond — or perhaps fall short of! — this metaphor by articulating the motif of archaeology in the work of the German-Jewish philosopher, seeking to align it with the discipline of archaeology itself. Among other things, throughout the course, we question: if there is a Benjaminian archaeology, what would be the specificity of this archaeology?
We start from the central hypothesis that the program for a new writing of history, as outlined by Benjamin in “On the Concept of History” (1940), can only be carried out if we are first able to confront, as Archaeology does, the material remnants of the past — and in this case, those remnants left behind by the defeated. That is, a writing of history that does not rely exclusively on written documents — the primary object of History — since writing has historically [almost] always served the purpose of legitimizing and maintaining power and, therefore, the history of the victors.
The course is an initiative of the Graduate Program in Literature and Culture at UFBA, the Center for Studies in Criticism and Contemporary Culture of the same institution, the Visual Arts Program at UFRGS, and the Comparative Literature Research Group of the National Association of Postgraduate Programs in Literature and Linguistics.
Bio:
Maykson Cardoso (Divinópolis, MG, 1988) has been living in Berlin since 2018. He is a doctoral candidate in Visual Arts/Art History at UFRJ. His research focuses on the articulation of the motif of archaeology throughout the work of Walter Benjamin, from which he proposes an "archaeological" reading of the so-called "theses" from On the Concept of History (1940), as well as what he refers to as an “archaeology of violence/Gewalt”: a method of writing history based on the premise that the history of the defeated can only be written if the writer first dedicates themselves to analyzing the material remnants that testify to their existence, considering that historically, writing has always been a tool for legitimizing and maintaining the power of the victors.
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us to Pay Our Teachers, pay the rent, keep the lights on, and maintain and improve the material conditions of the Free Music School. But! if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
Happy Birthday Anna Muñoz!
Join us to Celebrate Anna Muñoz's 70th Birthday!
Anna Muñoz, mother to Helio, a dedicated public school teacher for over 35 years, and a cherished neighbor who has cared for Michael for over a decade, is turning 70! Anna is a talented urban sketcher, photographer, art teacher, and medicine woman—so many wonderful things to celebrate about her!
We invite neighbors, friends, and family to gather at the Free Music School to honor Anna's life and work.
Event Details | 6:00pm-11:00pm
Photography Exhibition by Anna Muñoz
Carrer Purisima Concepció and Beyond | Poble Sec, BCN | Circa 1981
Bio Wine from Vic, available for purchase, courtesy of Ferran Font.
Pika Pika de Honduras, lovingly prepared by our friend and neighbor Carmen.
Local Celebrity Bingo hosted by a Surprise Guest – get ready for some fun!
Suggested Donation:
Pay-What-You-Can, with a suggested contribution of 10€ to help offset food costs.
Special Activity:
At 11:00 PM, we'll walk together to the Greek Theater for the concert "Encuentro d'Arreu."
Follow Anna on Instagram: @munoanna
Anna will also be teaching an urban sketcher's class this winter. Reach out to her on Instagram to learn more!
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us to Pay Our Teachers, pay the rent, keep the lights on, and maintain and improve the material conditions of the Free Music School. But! if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
YÃO k: Street-Level Poetry
Foto possibly by ultravioleta.
SCHEDULE:
8:00pm-9:30pm: Doors Open + Pika-Pika
9:30pm-10:00pm: Poetry Recital with YÃO k (we will begin on time!)
10:00pm-11:00pm: FIREWORKS!
Recital Description:
This story of four oral poems in Castellano and one body poem crosses the experiences of love from different personal perspectives, in my case from these 5:
- Reciprocal love
- Distant love
- Physical love
- Confused love
- Self-love
On this journey, I want to show you how I feel through words, the convergences and experiences I share with the people around me and those I meet along the way. If these stories resonate with you, then they’re probably meant for you.
Personal Description:
Call me YÃO k
And that's where we'll begin
From Lisbon, where my mother gave me life not once, but twice in the hospital bathroom when I couldn’t even breathe
Raised in Logroño, where I found inspirations that allowed me to breathe while diving in the Ebro
I let myself be moved by many places, and few stayed as deeply within me as poetry. There were alleyways like color, light, and makeup that are very much a part of my neighborhood and Will never disappear, no matter how far I go
These places that inhabit and fill me
Are the places I want to take you to
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us to Pay Our Teachers, pay the rent, keep the lights on, and maintain and improve the material conditions of the Free Music School. But! if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
Rasheed Jalloul: Magic In the MAGNETICS of Meaning (#2)
Rasheed at the Free Music School, April 22, 2023.
Invitation For Lecture #2 of seven:
Magic is about Manipulating Movement, it is the [dis]Tortion of Time. In many ways it's the Conjuring of Coincidence, the Orchestration of Accident.
Let's endorse our errors with a Hummus Habibi <3
*Note: The lecture will be in Spanish and Catalan.
Rasheed Jalloul is a Lebanese architect , poet and composer based in Barcelona. In an attempt to intertwine the disciplines of architecture and music , Rasheed ’s artistic research explores gravity as a moderator of geometry , “a metronome of form”. His work attempts to uncover new and unconventional scales of understanding , derived from the integration of a synaesthetic language of architecture and music , where spatial construction aligns with linguistic semantics .
His work has been exhibited and presented in various cultural centres and festivals such as MACBA (Barcelona), Kampnagel ( Hamburg ) , Sheffield Doc Fest, Fundaci ó n Enric Miralles, Espai Barberi by RCR Arquitectes, La Infinita, Tecla Sala, Casa Eli z alde and the Free Music School in Barcelona.
If music be the food of love, play on!
〰️
If music be the food of love, play on! 〰️
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us pay the rent, keep the lights on, pay our teachers, and maintain and improve the material conditions of the Free Music School. But if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
Manuel Del Rincón
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us to Pay Our Teachers, pay the rent, keep the lights on, and maintain and improve the material conditions of the Free Music School. But! if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
Maykson Cardoso: Walter Benjamin As An Archaeologist (Day 2)
Day 2:
From the ruins of tradition to the debris of war: translation deviations and epistemological delimitations. Between German Tragic Drama (1928) and the [Theses] On the Concept of History (1940).
Class Description:
*This class will be taught in Portuguese.
The metaphor of archaeology as a metaphor for a [philosophical] method of analysis dates back to Kant and was later used by Freud, Benjamin, Husserl, Foucault, Agamben, among others. In the course “Walter Benjamin as Archaeologist,” we propose to go beyond — or perhaps fall short of! — this metaphor by articulating the motif of archaeology in the work of the German-Jewish philosopher, seeking to align it with the discipline of archaeology itself. Among other things, throughout the course, we question: if there is a Benjaminian archaeology, what would be the specificity of this archaeology?
We start from the central hypothesis that the program for a new writing of history, as outlined by Benjamin in “On the Concept of History” (1940), can only be carried out if we are first able to confront, as Archaeology does, the material remnants of the past — and in this case, those remnants left behind by the defeated. That is, a writing of history that does not rely exclusively on written documents — the primary object of History — since writing has historically [almost] always served the purpose of legitimizing and maintaining power and, therefore, the history of the victors.
The course is an initiative of the Graduate Program in Literature and Culture at UFBA, the Center for Studies in Criticism and Contemporary Culture of the same institution, the Visual Arts Program at UFRGS, and the Comparative Literature Research Group of the National Association of Postgraduate Programs in Literature and Linguistics.
Bio:
Maykson Cardoso (Divinópolis, MG, 1988) has been living in Berlin since 2018. He is a doctoral candidate in Visual Arts/Art History at UFRJ. His research focuses on the articulation of the motif of archaeology throughout the work of Walter Benjamin, from which he proposes an "archaeological" reading of the so-called "theses" from On the Concept of History (1940), as well as what he refers to as an “archaeology of violence/Gewalt”: a method of writing history based on the premise that the history of the defeated can only be written if the writer first dedicates themselves to analyzing the material remnants that testify to their existence, considering that historically, writing has always been a tool for legitimizing and maintaining the power of the victors.
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us to Pay Our Teachers, pay the rent, keep the lights on, and maintain and improve the material conditions of the Free Music School. But! if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
Öykü Tekten: Language is My Second Language
Language is My Second Language: Mother Tongues, Father Tongues, and Those-in-Between
Any time a group of people forms through the mutual adherence to a code, the strength of that group partly derives from the exclusion of those who don’t know or don’t practice the code. In this workshop, we will discuss texts and poems in translation to explore the dimensions of speaking and listening that transcend language’s coding function: the moments when speech is instinctual, receptive and tentative rather than self-affirming or group-affirming.
Our conversation will also constitute an act of composition, translation and other creative means chosen by the participants who can contribute as they wish throughout the workshop as an alternative to “conversing” in the strict sense. In this way, “participation” is something we will interpret broadly, or re-interpret altogether. We will pose questions as to answer the meaning and function of mother tongues, father tongues, those that are invented and remain in-between or on the margins.
Readings may include Anne Carson's Float, poems by Lorca (in translation) and others.
Languages may include Spanish, English, Turkish, Kurdish, Arabic, invented ones, and silence.
Öykü Tekten is a poet, translator, archivist, and editor. She is also a founding member of Pinsapo, an art and publishing experience with a particular focus on work in and about translation, as well as a contributing editor and archivist with Lost & Found: The CUNY Poetics Document Initiative. She lives in Granada with her tabby cat from Brooklyn & travels with Anatolians to earn a living & is now visiting Gran Canaria in search of a cave dwelling.
ADMISSION TO ALL FREE MUSIC SCHOOL EVENTS IS PAY-WHAT-YOU-CAN.
Your contributions help us to Pay Our Teachers, pay the rent, keep the lights on, and maintain and improve the material conditions of the Free Music School. But! if contributing cash isn’t possible, that’s okay! there are many ways to support. You can bring snacks, beverages, or simply offer your presence and energy. Or, organize with us a way to show, tell, and share what is important to you, what you are burning for. #STAYINTENSE
Maykson Cardoso: Walter Benjamin As An Archaeologist (Day1)
Day 1:
From the archaeologist’s dream to the allegory of excavation: introduction to the research + reading and discussion of the text “Excavate and Remember” (c. 1935) and other excerpts from the author.
Class Description:
*This class will be taught in Portuguese.
The metaphor of archaeology as a metaphor for a [philosophical] method of analysis dates back to Kant and was later used by Freud, Benjamin, Husserl, Foucault, Agamben, among others. In the course “Walter Benjamin as Archaeologist,” we propose to go beyond — or perhaps fall short of! — this metaphor by articulating the motif of archaeology in the work of the German-Jewish philosopher, seeking to align it with the discipline of archaeology itself. Among other things, throughout the course, we question: if there is a Benjaminian archaeology, what would be the specificity of this archaeology?
We start from the central hypothesis that the program for a new writing of history, as outlined by Benjamin in “On the Concept of History” (1940), can only be carried out if we are first able to confront, as Archaeology does, the material remnants of the past — and in this case, those remnants left behind by the defeated. That is, a writing of history that does not rely exclusively on written documents — the primary object of History — since writing has historically [almost] always served the purpose of legitimizing and maintaining power and, therefore, the history of the victors.
The course is an initiative of the Graduate Program in Literature and Culture at UFBA, the Center for Studies in Criticism and Contemporary Culture of the same institution, the Visual Arts Program at UFRGS, and the Comparative Literature Research Group of the National Association of Postgraduate Programs in Literature and Linguistics.
Bio:
Maykson Cardoso (Divinópolis, MG, 1988) has been living in Berlin since 2018. He is a doctoral candidate in Visual Arts/Art History at UFRJ. His research focuses on the articulation of the motif of archaeology throughout the work of Walter Benjamin, from which he proposes an "archaeological" reading of the so-called "theses" from On the Concept of History (1940), as well as what he refers to as an “archaeology of violence/Gewalt”: a method of writing history based on the premise that the history of the defeated can only be written if the writer first dedicates themselves to analyzing the material remnants that testify to their existence, considering that historically, writing has always been a tool for legitimizing and maintaining the power of the victors.
