Andreas Petrossiants speaks with Marina Vishmidt about her book, Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital.  Marina Vishmidt is a writer and editor. She teaches at Goldsmiths, University of London. Her work has appeared in South Atlantic Quarterly, Ephemera, Afterall, Journal of Cultural Economy, Australian Feminist Studies, and Radical Philosophy, among others, as well as a number of edited volumes. She is the co-author of Reproducing Autonomy (with Kerstin Stakemeier) (Mute, 2016), and Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital (Brill 2018 / Haymarket 2019). She is one of the organisers of the Centre for Philosophy and Critical Thought at Goldsmiths, a member of the Marxism in Culture collective and is on the board of the New Perspectives on the Critical Theory of Society series (Bloomsbury Academic).

Marina Vishmidt: Speculation as a Mode of Production

Conversations with some of the most engaged artists and thinkers working today.

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Visual Arts

Ben Eastham talks to artist Lucile Desamory. This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham.   Lucile Desamory works at the frontiers of perception and cognition, with a special interest in what the Berlin-based artist refers to as the “too-much, the falsified, and spurned narratives.” The breadth of her pursuit is reflected in the diversity of her approach, which uses film, painting, embroidery, photography, and her voice. Often working in collaboration, her oeuvre extends to theatrical works, feature-length films, and a television show currently in production.

Cosmos Cinema conversation: Lucile Desamory

Hallie Ayres talks to artist Heidi Lau. This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham.  Heidi Lau’s luminous ceramics evoke architectural ruins, funerary vessels, and mythological creatures. Channeling the artist’s personal history, the syncretic cultures of her native Macau, and the diasporic experience, Lau transforms Taoist ritual tokens of mourning and remembrance into what Kang Kang describes as “oblique monuments for an impossible ancestry.”   Intro sound: excerpt from Carsten Nicolai (aka Alva Noto), COSMOS (Soundtrack for 14th Shanghai Biennale), 2023. 14 tracks, overall 117:30 minutes.

Cosmos Cinema conversation: Heidi Lau

   Andreas Petrossiants talks to author  Ciarán Finlayson about his book, Perpetual Slavery, published by Floating Opera Press in 2023.    In Perpetual Slavery, Ciarán Finlayson investigates the relationship of art to freedom in the work of Cameron Rowland and Ralph Lemon, who both utilize imagery of labor haunted and structured by the historical experience of slavery. Finlayson suggests that these two artists’ work overcomes the dichotomy between the recording of history and its interpretation by making both the object of artistic experience, thereby providing a space to grasp the continuing effects of slavery.        Ciarán Finlayson is an editor from Houston, Texas. He is Senior Editor at Triple Canopy. Finlayson is on the core faculty of the Interdisciplinary Art and Theory Program in New York, and has taught aesthetics and social theory at Columbia University, New York, and the Sandberg Institute, Amsterdam, and at socialist night schools hosted by the New York City chapter of Democratic Socialists of America.

Ciarán Finlayson on Perpetual Slavery

A conversation preceding the  African Film Institute’s  inaugural screening at e-flux curated by Natacha Nsabimana, featuring two works by Rwandan filmmaker Amelia Umuhire. The African Film Institute is convened by Christian Nyampeta and hosted by e-flux Screening Room. Amelia Umuhire (b. 1991, Kigali, Rwanda) is a filmmaker and artist living in Kigali and Berlin. In 2015, she wrote and directed the award-winning web-series Polyglot, in which she follows the lives of young, deracinated London- and Berlin-based Rwandese artists. Her short film Mugabo was awarded Best Experimental Film at the Blackstar Film Festival, and screened at MOCA Los Angeles and the Berlin Biennale among many other places. In 2018, Umuhire produced the Prix Europa-nominated radio feature Vaterland for the German radio station Deutschlandfunk Kultur. She was a Villa Romana Fellow in 2020, and is currently working on her first feature film. Natacha Nsabimana teaches in the anthropology department at the university of Chicago. Her research and teaching interests include postcolonial critique, musical movements, and the cultural and political worlds of African peoples on the continent and in the diaspora. The  African Film Institute aims to create a home and a place of intimacy with African cinema in New York, through developing gradually and organically a viewing program animated by fellowships; a growing library; an active writers’ room; and an expanding catalog of recorded dialogs. The African Film Institute draws from the visual cultures that view cinema as an evening school: a popular information system in the service of education, aesthetic experience, and public dissemination—employing a methodology concerning the use of cinema’s collective production, and investing in viewing methods informed by different uses of time, visual and textual histories, and social struggles and hopes in mutuality between their own locality and the world at large. 

African Film Institute: Amelia Umuhire, Natacha Nsabimana, and Christian Nyampeta

Tamara Khasanova and Hallie Ayres talk to artist Saodat Ismailova following To Share a Dream With a River, a screening of three films at e-flux. Stay tuned after the conversation for an excerpt from a soundscape composed by  Camille Norment for Ismailova’s film, The Haunted. Films discussed in this episode: The Haunted (2017, 23 minutes) takes the form of an open letter to the Turan tiger. A majestic symbol of the Central Asian landscape, this animal has been extinct for several decades but lives on as a sacred symbol in the collective imagination of the local population. In her captivating film essay, Ismailova pays homage to the tiger as she shows how firmly bound it is to the region’s history. Stains of Oxus (2016, 24 minutes) follows a transformation of the landscape of the Amu Darya riverbanks and the people that inhabit them, beginning from the high plateau in Tajikistan to the lowland deserts in Uzbekistan, where the river finds its end. Chillpiq (2018, 17 minutes) begins with a scene of two buses emerging on the horizon as they drive toward Chillpiq. A group of forty girls climb the ruins that stand atop a mount in the middle of the steppe. One by one, they tie pieces of cloth to a flagpole that crowns the archeological site, and worship it as a symbol of life. The girls circle the shrine while the setting sun changes the light to an orange glow, blurring their silhouettes as they disappear into the site. Two Horizons (2022, 24 mins) was exhibited as part of the 14th Shanghai Biennale’s Partial Eclipse section, and hints at infinite strategies through which humans access occluded forms of matter and energy. Two Horizons combines a prophecy carried down in the ancient Turkic oral histories of Qorqut with the more recent history of a space launch facility. The tomb of Qorqut—the storyteller and seer who is the central hero of the epic—lies in the south of Kazakhstan, near the Baikonur Cosmodrome. In the local culture the belief persists that a person will one day come to defeat gravity and achieve eternal life.    Saodat Ismailova is a filmmaker and artist who came of age in the post-Soviet era in Central Asia. She graduated from Tashkent State Art Institute in Uzbekistan and Le Fresnoy, National Studio of Contemporary Arts in France. Drawing on the cultural identities and vernacular histories of Central Asia, Saodat Ismailova’s films meditate on memory, spirituality, immortality, and extinction. Frequently based around folk stories in which women are the lead protagonists, and exploring systems of knowledge suppressed by globalized modernity, these consciousness expanding works hover between visible and invisible worlds.  Tamara Khasanova is a curator, researcher, and writer living in Brooklyn, New York. She currently serves as an Archives Assistant at e-flux, and curated the To Share a Dream With a River screening program. Hallie Ayres was on the curatorial team for Cosmos Cinema, the 14th Shanghai Biennale. She is Associate Director of e-flux.

Marina Vishmidt: Speculation as a Mode of Production

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