Arts of the Working Class

Arts of the Working Class Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von Arts of the Working Class, Zeitschrift, Lynarstraße 38, Berlin.

Distributed on the streets of Western Europe by those excluded from the system, Arts of the Working Class is a newspaper covering Art, Poverty, Wealth and Precarity.

Can museums function as commons? Spoiler: structurally, no.But they can redistribute resources, expose their operations ...
17/01/2026

Can museums function as commons? Spoiler: structurally, no.

But they can redistribute resources, expose their operations and biases, and stop domesticating the people and practices that survive despite them. 

Dalia Maini reports on the three-day international forum “Culture as a Commons” at Museion, Bozen.

Read on artsoftheworkingclass.org the full reflection on what happens when institutions try to shed their concrete skins

Nicola L., “I Am The Last Woman Object” will be on show at Museion until 01.03.2026

Images: Nicola L., La Chambre en Fourrure, 1970. Courtesy Nicola L. Collection and Archive and Alison Jaques, Copyrights Nicola L. Collection and Archive

Introducing relational offerings to everyone interested in community practices.At the end of last year, we launched an o...
15/01/2026

Introducing relational offerings to everyone interested in community practices.

At the end of last year, we launched an open call for projects aimed at bursting bubbles and building solidarity across fields and categories, transforming our space in Berlin-Neukölln into temporary infrastructures for collective activations.

We thank everyone who submitted a proposal. We reviewed them carefully, and we warmly welcome the selected practitioners of the program we’ve titled “Community Conduits”.

Dates and modes of participation will be announced soon. Stay tuned.

Entering 2026 likeIn their latest book review, Octavia Abril confronts us with the unsettling clarity of Marek Poliks an...
13/01/2026

Entering 2026 like

In their latest book review, Octavia Abril confronts us with the unsettling clarity of Marek Poliks and Roberto Alonso Trillo’s “Exocapitalism: Economies with Absolutely No Limits”, launched late last year. One of the most eye-opening pieces of collective thinking and situated analysis we’ve encountered, it serves as a necessary companion for reading the present, capable of meeting the year’s breaking news without illusion, and opening thought to what is coming toward us, for better or worse.

Read more at artsoftheworkingclass.org

Credits:
Signature Illustrations by Avocado Ibuprofen; Cover & Graphic Design by Palais Sinclaire; Typography & Layouts by Polymnia Tsinti & Palais Sinclaire

Sometimes the smallest objects carry the heaviest histories.In conversation with Eve Tagny, Jeanne-Ange Wagne inquires i...
19/12/2025

Sometimes the smallest objects carry the heaviest histories.

In conversation with Eve Tagny, Jeanne-Ange Wagne inquires into the themes of her exhibition “In the Underbelly of a Kernel”, which unfolded this summer at Westfälischer Kunstverein—on kernels, cowrie shells, and the origins of capital, tracing extraction from Cameroon to global systems of dispossession.

Read the full interview in our link in bio.
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Images: Eve Tagny ,Untitled, 2024, Image from the photographic series Mythologies de la Valeur, Courtesy of the artist

Eve Tagny, In the Underbelly of a Kernel, 2025, Installation view, Westfälischer Kunstverein, Photo:Thorsten Arendt

Eve Tagny, Entangled scores of the 
underbelly, 2025, Detail, Photo: Thorsten Arendt

In their review of Hannah Proctor’s book Burnout: The Emotional Experience of Political Defeat, Dalia Maini explores wha...
17/12/2025

In their review of Hannah Proctor’s book Burnout: The Emotional Experience of Political Defeat, Dalia Maini explores what activist movements often overlook: exhaustion.

How did past generations survive a sense of defeat? How do we build resistance that lasts?
Revolution can’t be just a flame that burns bright. It needs to transform into the slow labor of care and endurance to stay in the struggle for the long haul.

Read the full text at the link in bio

We put the review in conversation with Arturo Kameya’s paintings. His work, reflected in María Inés Plaza Lazo’s review, “The Moon Wanted to Be the Sun, But It Was too Late”, embodies Édouard Glissant’s relational identity—subjectivity emerging from multiple roots, resisting colonial hierarchies that still haunt postcolonial societies.

Image: Arturo Kameya, Pan duro, 2024, © and courtesy of the artist

Held close, before languageBetween Cairo and Berlin, across generations, words, and inherited silences, Dina El-Kaisy Fr...
15/12/2025

Held close, before language

Between Cairo and Berlin, across generations, words, and inherited silences, Dina El-Kaisy Friemuth writes an ode to her mother, Maha. The text describes how history could be re-shaped by tenderness.

Read the full text in our latest issue or via the link in our bio.

Meet the artist and join us for the ###mas Gift Workshop—an afternoon of collective T-shirt making and food sharing. Saturday, December 20, 12–5 pm Arts of the Working Class Office Schillerpromenade 10, Berlin

More information via the or at artsoftheworkingclass.org

Imaan, 2025 Photograph by Dina El-Kaisy Friemuth. Courtesy of the artist

Patrick wishes you warmth for the cold days and wants you to know that:He sells AWC on the streets of Berlin. You can fi...
14/12/2025

Patrick wishes you warmth for the cold days and wants you to know that:
He sells AWC on the streets of Berlin. You can find him at Nöldnerplatz or you can donate via today and pick up some copies at our space at Schillerpromenade 10, Neukölln on December 20, 12-5pm, and have a hot wine with us.

In their latest column, Catwings reflects on a fundraiser that took place during Berlin Art Week, where more than 400 Be...
12/12/2025

In their latest column, Catwings reflects on a fundraiser that took place during Berlin Art Week, where more than 400 Berlin artists contributed works sold at equal prices. Detached from market hierarchies, the event shows how art can operate as collective care, solidarity, and resistance, highlighting its political and imaginative possibilities today.

the full text in our latest issue or via the link in our bio.
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Image
©Dania Shihab, Carlos Vásquez Méndez, On Lines, 2025

GIVEAWAY: 5 × 2 tickets to an afternoon of resistance, remembrance, and testimony.At the heart of 3 Days to Liberation I...
11/12/2025

GIVEAWAY: 5 × 2 tickets to an afternoon of resistance, remembrance, and testimony.

At the heart of 3 Days to Liberation II lies the question of how people preserve their dignity, voice, and hope. The three-day festival weaves together personal biographies with collective experiences of liberation, opening new perspectives on freedom, justice, and civil courage.

Curated by

This Saturday at Grüner Salon (Volksbühne), we’re giving away tickets to a powerful double event:

14:30 — Film Screening: Women Who Said No by Sepehr Atefi 
A touching documentary on courage and refusal.

16:00 — Panel Talk: Parastou Forouhar × Sepehr Atefi × Maryam Palizban 
Meet the director and join an urgent conversation on justice, memory, and non-violence.

How to Participate:
1. Like this post
2. Follow
3. Tag one person you’d bring

Winner announced on Friday. 

For more info visit: www.volksbuehne.berlin/de/series/3-days-to-liberation-ii

Visiting Tirana for an Art WeekendIn Albania’s capital, artists and cultural practicioners are bridging generational tra...
10/12/2025

Visiting Tirana for an Art Weekend

In Albania’s capital, artists and cultural practicioners are bridging generational trauma from decades of totalitarianism with the hope of European integration. Under the curation of AVAN (Albanian Visual Arts Network) and community efforts, 19 independent spaces transformed the city into a celebration of resistance, storytelling, and transgenerationality.

Dalia Maini observes what grassroots culture looks like in this context: radical transparency, community backing, and the courage to excavate buried histories.

the review at the link in the bio.
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Images
Anna Ehrenstein, HOME IS WHERE YOUR HATRED IS (2025), installation view. Courtesy of Albanian Visual Arts Network
Tek Bunkeri, Antimuseum (2025), installation view. Courtesy of Albanian Visual Arts Network
Xhanfise Keko and Urani Rumbo’s Archive, installation view. Courtesy of Albanian Visual Arts Network
Gerta Xhaferaj, The Censorship of the Flowers (2024), installation view. Courtesy of Albanian Visual Arts Network
Antonio Ottomanelli, Re-Reading Gaza (2013), installation view. Courtesy of Albanian Visual Arts Network
Jona Krasniqi, Where Do Thoughts Go, 2025, detail. Courtesy the artist and Art House Foundation

THIS SUNDAYDecember 14, 20257–9pm CET / 10am–12pm PSTLocation: Online Register by sending an email to tz@artsoftheworkin...
09/12/2025

THIS SUNDAY

December 14, 2025
7–9pm CET / 10am–12pm PST
Location: Online
Register by sending an email to [email protected] until December 14, 2025

As we close a year marked by escalating housing struggles, contested urban futures, and the relentless pressures of exocapitalism on our inner and collective lives, we invite you to gather with us for a conversation that looks back, looks around, and looks forward.

Together with John Malpede and Henriëtte Brouwers of the Los Angeles Poverty Department, and Alex Ungprateeb Flynn, an anthropologist and the co-curator of the exhibition Construction, Occupation at the Fowler Museum, we will return to the questions that shaped our Anniversary Issue, no. 36, questions about how experience becomes political, how community emerges under conditions of scarcity, and how the act of paying attention to our own conditions can become a form of resistance.

Issue 36 asked what it means to undergo the turbulent experience of being human in a world where our emotions, our labor, and even our grief are captured, quantified, and repackaged. It asked how we might reclaim forms of interdependence that capitalism works to hide, and how to locate memory, struggle, and possibility within the very places that are marked for demolition, displacement, and financial speculation.

In this online gathering, we will extend these questions into the realm of housing—its movements, its ruptures, its infrastructures of solidarity. From the four decades of cultural labor on Skid Row undertaken by LAPD, to the prefigurative politics emerging from urban occupations in São Paulo, and their echoes in Los Angeles, we want to think together about what is already being built, what has been damaged, and what remains possible.

What can we do from our respective positions?

This conversation is not a panel but a shared space: a moment to map the energies, contradictions, and forms of collective imagination that continue to shape our cities and our lives.

Supported by the Fowler Museum at UCLA and the Checkpoint Charlie Foundation, Berlin.

Arts of the Working Class – 工人階級的藝術 – Artes de la clase obrera – İşçi Sınıfının Sanatları – فنون الطبقة العاملة – אמנויות מעמד הפועלים – Sztuka klasy robotniczej – Künste der Arbeiterklasse – Umění dělnické třídy – И....

Set against a protest encounter, Lo Höckner’s “Das Sehnen nach Zärtlichkeit” (Longing for Tenderness) shifts away from c...
08/12/2025

Set against a protest encounter, Lo Höckner’s “Das Sehnen nach Zärtlichkeit” (Longing for Tenderness) shifts away from confrontation to trace how bodies meet, resist, and create new forms of care and radical intimacy. Her essay moves through fear and control to reflect on how tenderness and solidarity persist within oppressive structures.

A still from Ana Vaz’s ritual-film A árvore accompanies the text. Filmed as part of a diaristic practice begun in 2018, Vaz turned to a cinema freed from scripts and projections — a living cinema attentive to the marginal, the energetic, the everyday. A árvore follows her father, artist and forest mystic Guilherme Vaz, whose life and work stood at the frontier of modernity’s advance, and for whom cinema was a spiritual guide.

Together, the essay and film open a shared space of vulnerability, resistance, and quiet revelation.

Read via the link in our bio.
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Image:
Ana Vaz, A árvore / The Tree, 2022 ˝ and courtesy Ana Vaz

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