BEEFORE WE GO Down in History (We have to make a living) II | Activity

This Last session of BEEFORE WE GO DOWN IN HISTORY (We have to make a living) AIMS TO BE AT REFLECTION THAT SERVES TO PLAN Other, Future Meetings, Above (Gold Below) and Beyond [contra]panorama and the Museum Itself. It is a matter of understanding the fragility of our Times and of Seeking the Strategies for Mutual Support, Solidarity and Political Work We So Urgently Need to Ensure Our Survival.

“The Future has arrived – It’s just not Evenly Distributed Yet.” This Slogan, Attributed to William Gibson Some Twenty Years Ago, SEEMS to have Taken on New Validity. We are not just just towiting this pending redistribution, but the technology on whichity idea of ​​the future was based is serving as an engine for a rising extractivism and savage unequality.

Cultural Work, Mostly Insecure and Someimes Not Even Recognised As Work, SEEMS Destied to Disappear OR to Become a Class Privilege. In Spain, the demands of Cultural Workers have generally been adressed to the central government or the reduced to the level of the arts institutions that, to a Greater or Lesser extent, representing it. The-Politically Non-Negotiable-Idea That The Future Must At Something Point Grant Us This Elusive Redistribution, That Must Be Better Than The Present, Underlies these Dembs. However, at a time when neoliberalism is threatening to give way to the nightmare of a capitalism with the democracy, what is to be good? While It is Beyond Doubt that Are Urgent Reforms (Fiscal, Legislative and So On) That Aid More More Equal Access to Cultural Work, Is Enough To State Theses As We Have Due For Decades? Are there tools we can develop as a group to assure oun survival?

In 2021, MACBA LUNCHED THE TRIENNIAL PANORAMA, Which Aimed to “Deepen Its Collaboration and Dialogue with Local Artists and Cultural Agents”. [contra]panoramaThe Second Edition of Panorama Retains The Same Aim Works Towards It Through a Year-Long Series of Interventions That Take The Project Title Literally, in order to Question Both The Continuing Relevance of the Triennial (or Biennial) Format and Its Cacity to Offer a Panoramic Image of the Present.