{"id":1056,"date":"2025-10-25T17:32:55","date_gmt":"2025-10-25T17:32:55","guid":{"rendered":"https:\/\/plotting.rietveldsandberg.nl\/?page_id=1056"},"modified":"2026-01-08T16:50:07","modified_gmt":"2026-01-08T16:50:07","slug":"tactics","status":"publish","type":"page","link":"https:\/\/plotting.rietveldsandberg.nl\/?page_id=1056","title":{"rendered":"Tactics of the Plot"},"content":{"rendered":"\n
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Tactics of the Plot<\/em> brought together seven practitioners \u2014 artists, activists, theorists, educators and curators \u2014 whose social and artistic practices are entangled with neoliberal market structures and commodification. Between December 2024 and March 2025, the group collectively shared and explored their methods of resistance, refusal, coping, and imagination. Rooted in Sylvia Wynter\u2019s notion of the \u201cplot\u201d \u2014 narrative, social, and spatial practices that imagine otherwise, and that enact possibilities of resistance within and against the market\u2019s captive and extractive logic \u2014 this series of workshops sought to read Wynter\u2019s work through a contemporary lens. As we suggest, the plot continues to resonate in spatial and artistic practices as acts of resistance against the ongoing forces of domination, exploitation, gentrification, and commodification. <\/p>\n\n\n\n

Throughout the sessions, we asked ourselves: <\/p>\n\n\n\n

How can artists sustain community-based and collective practices when such methods are increasingly absorbed by institutional frameworks? <\/p>\n\n\n\n

 
How can the artistic and cultural field address the paradox of art-washing and private investment while public institutions face austerity and political instrumentalisation?<\/p>\n\n\n\n

 
In the current political climate, what does resistance mean for artists, researchers, and educators, and what tactics might be necessary to respond to these shifting conditions? <\/p>\n\n\n\n

And how can we \u2018do\u2019 theories and concepts of change, such as Wynter\u2019s plot? <\/p>\n\n\n\n

Drawing on Augusto Boal\u2019s principle of theatre as a rehearsal for revolution<\/em>, the sessions guided by Laura Dubourjal and Linnea Langfjord Kristensen1<\/a><\/sup>, emphasised the active role of the spect-actor, <\/em>collapsing the divide between performer and observer so that everyone present could intervene, propose alternatives, and rehearse forms of collective action. In parallel, the practice of affidamento,<\/em> a feminist method of entrustment developed by the Milan Women\u2019s Bookstore Collective, invited participants to ground their reflections in relations of mutual reliance, accountability, and situated knowledge.  <\/p>\n\n\n\n

Through play, breathing, storytelling, and re-enactment, the group experimented with forms of collective study and performance, in which embodied exchange became a means of imagining and testing other ways of organising, resisting, and relating. <\/p>\n\n\n\n

Together, these approaches encouraged re-enactments and embodied explorations of collective tools and strategies for our collective present-futures <\/p>\n\n\n\n

Although this cycle of Tactics of the Plot<\/em> took place between December 2024 and March 2025, the inquiry continues as an evolving practice of thinking, moving, and creating together. On this page, you can listen to audio stories from each participant and watch the three-video episodes recorded during the March 2025 gathering. <\/p>\n\n\n\n

Laura Dubourjal<\/em> <\/p>\n\n\n\n

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