Rasheed Jalloul, 22 d’abril de 2023.
Rasheed Jalloul, April 22, 2023.

Castellano + English ↓

Manuel del Rincón, Església de Santa Madrona, 20 de gener de 2024.
Manuel del Rincón, Santa Madrona Church, January 20, 2024.

Nit de poesia a la Free Music School amb Alex Gregor, 16 de gener de 2026.
Poetry Night at the Free Music School with Alex Gregor, January 16, 2026.

Mercè Aguilar, classe “Investigant amb el cos”, 3 d’octubre de 2023.
Mercè Aguilar, “Investigating with the Body” class, October 3, 2023.

Rolly Dib amb La Tinta i l’FMS, Plaça del Sortidor, 3 de març de 2024.
Rolly Dib with La Tinta and FMS, Plaça del Sortidor, March 3, 2024.

Repoker de Reyes, Quinta “El Godo”, 17 de maig de 2025.
Repoker de Reyes, Quinta “El Godo”, May 17 2025.

El mag Tyler Haze amb el Dr. Raúl González Rodríguez durant “MUY FRAGIL”, 2 de juliol de 2023.
Magician Tyler Haze with Dr. Raúl González Rodríguez during “MUY FRAGIL”, July 2, 2023.

Alberto Masclans actuant a l’FMS durant els estudis oberts organitzats per La BiblioMusiCineteca, 11 de novembre de 2023.
Alberto Masclans performing at the FMS during the open studios organized by La BiblioMusiCineteca, November 11, 2023.

Cartells de protesta en georgià de Katharina Stadler, en exposició a l’FMS, 27 d’abril de 2025.
Protest signs in Georgian by Katharina Stadler, on exhibit at the FMS, April 27, 2025.

Ferran Font, vicepresident de l’FMS, a la seva vinya, L’Esquirol, Vic, Catalunya, 25 de març de 2022.
FMS Vice President Ferran Font at his vineyard, L’Esquirol, Vic, Catalunya, March 25, 2022.

Mercè Aguilar al piano amb Joe McGavin i Ferran Font, Free Music School, Poble Sec, BCN, 4 de maig de 2024.
Mercè Aguilar on piano with Joe McGavin and Ferran Font, Free Music School, Poble Sec, BCN, May 4, 2024.

Anna Ishtar, impartint “Liberación Del Trazo”, 11 de març de 2023.
Anna Ishtar teaching “Liberación Del Trazo”, March 11, 2023.

Gérard Mayen, Sessió de Feldenkrais #5, 31 de maig de 2023.
Gérard Mayen, Feldenkrais Session #5, May 31, 2023.

Santiago Latorre a l’FMS, preparant la seva actuació de «The Architecture of Friendship», 19 de setembre de 2024.
Santiago Latorre at the FMS, preparing for his performance of “The Architecture of Friendship”, September 19, 2024.

Cecilia Bellorín, 24 d’agost de 2024.
Cecilia Bellorín, August 24, 2024.

Cintia Sefirelly, Klimt/Gaza, 27 de setembre de 2025.
Cintia Sefirelly, Klimt/Gaza, September 27, 2025.

«Rasheed Jalloul: Magic In the MAGNETICS of Meaning (#4)», 26 d’octubre de 2024.
“Rasheed Jalloul: Magic In the MAGNETICS of Meaning (#4)”, October 26, 2024.

Pere Faura interpretant «Método Rosa» a l’FMS, 18 de juliol de 2024.
Pere Faura performing “Método Rosa” at the FMS, July 18, 2024.

Helio Reguera, Luiz Lucas i Santiago Latorre, 6 d’abril de 2023.
Helio Reguera, Luiz Lucas and Santiago Latorre, April 6, 2023.

Manuel del Rincón, ajudant Piano Servei a portar el piano del poble a l’FMS, 12 de novembre de 2022.
Manuel del Rincón assisting Piano Servei in bringing the people’s piano to the FMS, November 12, 2022.

Gerard Mayen, maig de 2023.
Gerard Mayen, May of 2023.

Castellano + English ↓

CASTELLANO + ENGLISH ↓

Toni Cunill and Laurent Roux at Laurent’s studio, Poble Sec, BCN, 2023.

CASTELLANO + ENGLISH ↓

Video:
María Inés Plaza ens presenta Arts of the Working Class: Relationships, 16 de novembre de 2025.
María Inés Plaza introduces us to Arts of the Working Class: Relationships, November 16, 2025.

Arts of the Working Class  ISSUE 39: RELATIONSHIPS Arts of the Working Class  ISSUE 39: RELATIONSHIPS
Quick View
Arts of the Working Class ISSUE 39: RELATIONSHIPS
€5.00

This fall, a small fleet of boats set sail under the banner of the Global Sumud Flotilla: a fragile choreography of resistance and solidarity carrying artists, activists, and ordinary people with ordinary jobs, determined to breach the maritime siege of Gaza and make visible its destruction and occupation. The flotilla was never only about reaching its destination. Its value was measured not in success nor in spectacle, but in risks shared, solidarities enacted, and futures imagined together against overwhelming odds. This understanding of solidarity as practice is what Chicks on Speed underline in their survey exhibition at the newly reopened Villa Stuck in Munich.

As this year’s editorial cycle was titled Value Attachment—a poetic and materialist inquiry into how we assign worth to our worlds—the Sumud Flotilla offers a paradigm for what that question truly entails. The Gaza Biennial reasserts, in its own terms, the primacy of relationships as the ground on which politics is built. Not relationships as networks of exchange or capital, but as infrastructures of mutual dependence and resistance: fragile, chaotic, complex, indispensable.

Across the previous four issues in 2025, we have traced how this question recurs across different registers. Now, we turn to Relationships: to sentimental versions and terrains of struggle. Fascism, in its twenty-first-century iterations, thrives not only on nationalism and exclusion but on dismantling relational life: isolating, atomizing, privatizing it until solidarity becomes suspect and empathy itself a form of dissent. Proximity is policed, intimacy is surveilled. Love is reduced to transaction. Care is outsourced. Trust weaponized. Even friendship, the most basic form of political relation, is co-opted as a tool of influence and control.

The question is no longer whether relationships have political significance, but whether politics is even possible without them. This question is what the paintings of Arturo Kameya, last spring during the Amsterdam Art Week, and the poster by Russel Hlongwane and Lo-Def Film Factory (Francois Knoetze, and Amy Louise Wilson), in collaboration with the transnational project “99 Questions” at the Humboldtforum, address. To relate, and to persist in relating, is to resist the logics that seek to divide society. The works introduced as part of this year’s Loop Festival in Barcelona show how to rebuild forms of attachment that cannot be monetized, mapped, or monitored. It is to construct alliances that do not obey the imperatives of state or market, as well as to recognize that the liberation of an individual is entangled with the liberation of all—from the remaining streets of Gaza to the rainforests of the Amazon, from picket lines to refugee kitchens. It is to insist on anti-fascism as the departure point for the future.

The art world is not exempt from the same kinds of pressures. Too often, the language of community, engagement, and care is reduced to branding, sponsorship, and visibility, reproducing the hierarchies it claims to critique. Institutions extract value from relational labor that lacks redistributing power. Exhibitions, biennials, and programs become performances of solidarity rather than its practice. Filippa Ramos tells us, in conversation, how she works against this contradiction: by maintaining a sort of sobriety.

Calling out complicity is not enough. Constructive engagement demands that art institutions and practices build relationships that resist co-optation. This means, as our contributors argue, valuing labor—emotional, intellectual, and physical—not only within the narrow grid of art historical discourse but in material and permacultural reciprocity. It means placing relationality at the center of decision-making rather than treating it as decoration. In doing so, art becomes a social infrastructure rather than a simulacrum of it.

D’Angelo (1974–2025), now our ancestor, reminded us that in a world that denies justice at every turn, there “ain’t justice, just us.” In our attachments, in our persistence, in the care we give and receive, these are the places where the only justice possible is born.

With contributions by:

Octavia Abril, Anuscheh Amir-Khalili, Knut Birkholz, Catwing, Chicks on Speed, Clemente Ciarrocca, Sepp Eckenhaussen, Michel Esselbrügge, Will Furtafo, Giulia Ottavia Frattini, Dina El Kaisy Friemuth, Gaza Bienniale, Gluklya, Tris Hedges, Russel Hlongwane, Lo Höckner, Amelie Jakubek, Jean Kamba, Arturo Kameya, kina from ver.di, Francois Knoetze, Loop Barcelona, Dalia Maini, Julia Montilla, Diógenes Muniz, María Inés Plaza Lazo, Krishan Rajapakshe / Nachbarschaftshaus Urbanstraße e.V., Lilo Ruminawi, Spore Initiative, Catwings, and Amy Louise Wilson.

Arts of the Working Class  ISSUE 34: FAMILY VALUES Arts of the Working Class  ISSUE 34: FAMILY VALUES
Quick View
Arts of the Working Class ISSUE 34: FAMILY VALUES
€5.00

Is our family like a tree, firmly rooted, or like a fan, unfolding in many directions? The notion of family has long been framed as a stable, secure entity. Yet today, family values are shaped by forces that generate profound insecurity— economic, ecological, and social. Drawing from Astra Taylor's insights in The Age of Insecurity, this issue exam- ines how systems designed to create security, like money and property, paradoxically deepen our anxiety and uncertainty.

As we approach the end of a year marked by wars and destabilization, we rethink the family nucleus as more than just a biological or historical unit. We explore it through artists like Ayumi Paul, Danh Vo, and Leiko Ikemura, who offer alternative visions of interconnectedness. Taylor’s argument that capitalism is an “insecurity-producing machine” applies here, as the traditional family model is manipulated by power structures to uphold inequality, creating both division and a false sense of safety.

Inspired by Japanese graphics from the Edo period (1603–1868), safeguarded at the Langen Foundation— celebrating its 20th anniversary as a family-run art collection—we explore how contemporary artists reinterpret the era’s sustainable practices of togetherness, where human and ecological bonds coexisted in both peace and crisis. Through artists like Michikazu Matsune and Ayami Awazuhara, we see how family ties, like other social structures, are fluid and shaped by their surroundings. Yet, as Taylor notes, insecurity invites solidarity. Even the privileged are not immune to financial or environmental precarity, as Joshua Citarella and Catherine Liu discussed in their conversation on the rise of the new managerial class.

As curator Sohrab Mohebbi reminds us, “Art is where we practice freedom,” and that freedom opens new possibilities for collective strength. In this light, artists like Paulina Nolte, Malte Bartsch, and Katrin Mayer explore how expanding our concept of families—and by extension, cities and societies—can offer a path toward resilience. We hope you enjoy this edition, carefully curated to introduce Arts of the Working Class in Japan first as an e-paper and now in print on the streets of Berlin and elsewhere.

Impressum / Imprint

Founders / Publishers / Directors
Verantwortlicher i.S.d . 18 Abs. 2 MStV María Inés Plaza Lazo, Pauł Sochacki

Managing / Artistic Director
Amelie Jakubek

Editor in Chief
Dalia Maini

Editorial Assistance
Rita Torres

Artistic Project Development & Distribution
Theresa Zwerschke

Administrative Assistance
Selma Louise Christoph

Proofreading
William Kherbek

Translations
Takashi Arai

Designer
AWC feat. Manuel Bürger

Online Design
Giorgia Belotti

Circle of Support - Volunteers:
Donald Eubank, Hassoumi Moctar Agali, Amina Zerourou, Ruslana Shabelnyk, Nina Abba, Hannah Lu Verse, anna zrenner, Sophie Franziska Schultz, Kira Schmitz, Nadine Bajek, Cora Pagano, Yasemin Şenkal, Lukas Grube, Duarte Eduardo, Felix Dengg, James Rhys Edwards, Louisa Maria Stank, Sophie Hartleib, Teresa Mayr, Leo Baumgärtner, Katharina Thurow, Annalisa Giacinti, Mia Ribeiro Alonso, Line Lange, Noa Jarri

Arts of the Working Class  ISSUE 33: NEIGHBORHOOD WATCH Arts of the Working Class  ISSUE 33: NEIGHBORHOOD WATCH
Quick View
Arts of the Working Class ISSUE 33: NEIGHBORHOOD WATCH
€5.00

The term "glocality" is often paraded as a beacon of progress, a concept that seamlessly blends the local and the global. Yet, this ideal often conceals the deep-seated inequalities and systemic violence that prevent cities from being cohesive networks of beings. In cities such as Barcelona and Berlin, where privilege and exclusion glaringly define their structures, the notion of "glocality" masks the harsh realities faced by those marginalized by capitalism’s relentless advance. The romanticized notion of cultural blending too often ignores this quiet but clear devastation.

We have exchanged gazes and ideas with the Berlin-and-Barcelona-based editors of A*Desk, Montse Badia, and María Muñoz, to refresh once again our commitment to critical dialogue achieved through a polyphony of multi-situated voices. The issue, titled "Neighborhood Watch/Ojos de Barrio”, examines annual and biennial events such as Manifesta 15 and Berlin Art Week 2024 to take their collectives into account for how art becomes a tool for finding cracks in the monolith of urban wealth accumulation, where communities can breathe and flourish and neighborliness counterposes the aridity of profit and gentrification. It’s an invitation to recognize that scarcity is one of the main modus operandi in the arts, by navigating the brutal intricacies of its most sordid form of attention specular to capitalism.

A*Desk, deeply embedded in Barcelona’s cultural fabric, has long been a haven for critical revision and resistance to the alienation of culture against the backdrop of gentrification. Thus, AWC (re)visits and translates previously published essays and conversations from A*Desk’s online platform which refuses to carve out spaces of plural belonging, but rather defines them. We want to query a few things with you, reader, in between the cities: how do we navigate fractured realities? How do we build resilient communities against the tides of gentrification and displacement? How does art actively reshape, not merely reflect, the spaces we inhabit? These are not abstract musings - they are the lived experiences of the artists and art workers featured in this issue. Their work is a testament to the power of art to reveal and resist, to nurture connections, and to root us in a shared struggle for dignity and belonging. 

Indeed, the collaboration between A*Desk and Arts of the Working Class is more than an intersection of ideas - it’s an opportunity to rethink the indispensable roles of independent realities within the cultural system and to envision new ways of connecting and supporting one another in our differences. We are committed to extending the invitation, as Arts of the Working Class begins to leave its mark on Barcelona’s cultural landscape hand in hand with A*Desk, and in complicity with Michael Hart, our new partner in crime, and the members of his Free Music School, a wonderful gathering place for the dwellers of Poble Sec. Let us use perennials, art fairs, and gallery weekends not just as a means to observe, but to become active in shaping a more historically and politically engaged collective consciousness as an expression of the arts' unresolved social role. Only then can art stop being merely a reflection but a powerful force for transformation, grounding us in our shared struggle and collective hope. Social change may be only a few blocks away from you if you wish to engage.

This issue features 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.

Impressum / Imprint

Founders / Publishers
Verantwortlicher i.S.d . 18 Abs. 2 MStV
María Inés Plaza Lazo, Pauł Sochacki

Managing / Artistic Director
Amelie Jakubek

Editor-in-Chief
Dalia Maini

Guest Editors
Montse Badia and María Muñoz-Martínez (A*Desk)

Artistic Project Development & Distribution
Theresa Zwerschk

Administrative Assistance
Selma Louise Christoph

Distribution Assistance
Miguel Angel Espinoza

Proofreading
William Kherbek

Translations
Léa d Allexandre
Kurt Hollander
Huda Zikry

Online Design
Giorgia Belotti

Circle of Support - Volunteers:

Hassoumi Moctar Agali, Amina Zerourou, Ruslana Shabelnyk, Nina Abba, Hannah Lu Verse, anna zrenner, Sophie Franziska Schultz, Kira Schmitz, Nadine Bajek, Cora Pagano, Yasemin Şenkal, Lukas Grube, Duarte Eduardo, Felix Dengg, James Rhys Edwards, Louisa Maria Stank, Sophie Hartleib, Teresa Mayr, Leo Baumgärtner, Katharina Thurow, Annalisa Giacinti, Mia Ribeiro Alonso, Line Lange, Noa Jarri

Castellano + English ↓