This open studio is intented to share where the artist is at at this point with the research she has been conducting during her stay at Titanik.
In this cycle entiled WWW³ (WORLD WIDE WEB / WILD WO.MEN WITCHES / WORLD WITHOUT WORK) Marie-Andrée Godin wants to see how magic, postcapitalism and diverse political forms or systems can be intertwined through a feminist art practice to help us manifest a sustainable future. After having used the same method to investigate the witch as a feminist figure in her previous research, and having discovered then how magic and witchcraft can be an empowering political tool and mean of action, she is now interested to pursue further her reasoning. What are the links tying magic and postcapitalism? Are we able to imagine an “exit” from capitalism and put it into action? Can we consider re-enchanting the world that capitalism needed to disenchant to achieve its aim? How can art, magic and politic be understood in the same way, as creative actions? What is the role of the artist in the implementation of a postcapitalist future? And what are the best artistic strategies to share those ideas through a feminist art practice? Can postcapitalism be an entry point for speculative feminism? To try and answer those interrogations, she is creating a corpus of installative and performative pieces that act as places for sharing; spaces where the circulation of ideas regarding postcapitalism, post-work, post-patriarchy, housework wages, universal basic income, and magic as political actions are facilitated; spaces in which it is possible to discuss, mobilize or invent ourselves and our future.
During her residency at Titanik, she worked on a sound based project: Glossary – WWW³ (WORLD WIDE WEB / WILD WO.MEN WITCHES / WORLD WITHOUT WORK). In this segment of the cycle, she attempted to build the soundtrack of a spoken glossary of many terms and concept that are relative to the economics and feminist economics theoretical framework(s) of this research.
This project is conducted with the support of Taike and the Canada Council for the arts