Islario

Inland

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ISLARIO vol. 4: WATER LAND TERRITORIES

137 pages

This issue begins with a discussion of political ecology and struggles for territory. It takes a contemporary artistic approach and reflects on the art system and looks at the intersection of art with the planet.

In the midst of an escalating global climate crisis, with harmful changes in biodiversity, and increased pollution, Islario seeks to share texts that cultural producers should orient their works towards, adjusting to a new global economic environment which continues to intensify these environmental urgencies.

Those who participate in addressing these climate issues can be thought of as artists who are orienting themselves towards overcoming limits between subjects versus objectives of research.  This research includes localized forms and deeply involved projects that seek to understand the place and role of art within environmental issues and the ecological degredation that has been displayed by all regions of the world.  The issue presents theoretical frameworks that incorporate anthropological themes of posthumanism from racialized identities and Anthropocene.

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INLAND is an arts collective, dedicated to agricultural, social and cultural production, and a collaborative agency. It confronts various problems of a system that is collapsing at its environmental, cultural and financial levels – affecting  both the planet and the individual- by formulating critical tools and applying them through experimental practice. It builds on the premise that the rural offers a physical and cultural space for the generation of diverse ways of life that differ from the hegemonic model. These other livelihoods are aware of their partial insertion in all established networks of exchange and aim to generate enough creative mass to question those power dynamics, aas well as the current relationship between centre and peripheries. Inland is based on a sort of three words manifesto, art-agriculture-territory. It speaks from the silenced other realities resisting erasure. It proposes collective encouragement for the reclamation of the means of livelihood.

As a cultural artefact it uses all representational tools at hand to expand – beyond  the contexts it intervenes- what is produced in the instant and immediacy of the everyday. It is in constant contradiction between the tactics of camouflage adopted by its antagonistic work – which mimics conventional art forms and institutionalised habits – and the open exposure of its dissent and the alternatives which it promises and tests.

As a para-institution, Inland is working together, against and beyond existing institutions. It is structured around different axis and lines of work  – from training to commercialization- which feed back on each other and become a self-sustained model that adapts and replicates. Inland’s value lies is the applicability of its method. It promotes cells in specific rural locations -some of which remain undisclosed – whilst operating at a supranational level, setting up agencies in different countries to affect agrarian and cultural policy frameworks in Europe.