Review of ‘The Founder’ by Gui Machiavelli

This review by Gui Machiavelli is part of the special issue of the Pervasive Labour Union zine on the Entreprecariat. Read it here and download it for free as PDF or EPUB.

The Founder by Francis Tseng

In The Founder, a self-described dystopian business simulator created by Francis Tseng in 2017, the player is put in the place of a nameless entrepreneur, the embodiment of “disruptive innovation.” The game’s Founder starts working in their living room and focussing on either IT or Hardware, eventually hiring employees, expanding into new locations (London, Antarctica, Bangalore, Lagos) and industries (entertainment, military, space engineering), researching new technologies, lobbying for changes in legislation and, most of all, keeping profits growing at a steady rate of 12% per year.

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Review of ‘It Is as if You Were Doing Work’ by Gui Machiavelli

This review by Gui Machiavelli is part of the special issue of the Pervasive Labour Union zine on the Entreprecariat. Read it here and download it for free as PDF or EPUB.

‘It is as if you were doing work’ by Pippin Barr

Dear user,

We were humbled by the overwhelmingly positive responses to It is as if you were doing work 👷‍♀️, the simulation created by Pippin Barr in which you get to file reports 🗒📉👨‍💻🏧🌐, watch progress bars and fiddle with arcane inputs to get that retro feeling of doing work 📈🗄👩‍💻📋📨❣️ After years of depression and aimlessness in our post-work society, countless users such as yourself have finally started to feel once again like their lives and their efforts actually mean something. Your continued operation of this system not only comes to us as an honest compliment 🙏, it is also a clear sign that we have struck a chord with our users.

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How to Make Yourself into a Commissioning Body in 5 Easy Steps by Anxious to Make

This contribution by Anxious to Make (Liat Berdugo + Emily Martinez) is part of the special issue of the Pervasive Labour Union zine on the Entreprecariat. Read it here and download it for free as PDF or EPUB.

The art collective, Anxious to Make, is taking artistic entrepreneurship to the next level. From existential anxiety to art market worthy end product, Anxious to Make proposes that by outsourcing all of the facets of artistic practice (and life) to gig workers and algorithms, anyone can make themselves into a creative enterprise and achieve the neoliberal dream.

Anxious to Make developed a workshop and methodology – along with a series of online generators, commissioned performances, interactive quizzes, and an analog algorithm, made literally out of paper – to walk artists through common blockages and offer solutions that can be commissioned through the sharing economy, gesturing toward an endless productive duplication.

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MoneyLab Reader 2 is Out

MoneyLab Reader 2: Overcoming the Hype is out. It includes an essay of mine entitled “First as Arts, Then as Tragedy — Two Cents on Personal Crowdfunding and Creative Entrepreneurialism”. The essay is also available in Italian on Not. Order or download a free copy of the book here here. More information:

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Art (…) Work by Martine Folkersma

This contribution by Martine Folkersma is a shortened version of the introduction to the novel-thesis ‘Art (…) work’, written for the Gerrit Rietveld Academy, department DOGtime IDUM 2017. The text is part of the special issue of the Pervasive Labour Union zine on the Entreprecariat. Read it here and download it for free as PDF or EPUB.

Art (…) Work shows the divergent positions, workings and subjectivities of artist and worker. The worker behind his desk and the artist in his studio are exemplifications of different roles and identities shaped by a complex of societal (mainly capitalist) constructions, myths and beliefs. The division of the individual in a worker (in general someone with a daily, money-earning job) or an artist (someone who creates artworks, in general in general a practitioner in the visual arts) is a capitalist, Fordist way of assigning the individual its pre-described role and position within society. The worker mostly subjugated to place and time regimes, is in sharp contrast with the artist who is freed from these constrictions by being ‘his own boss’.
The artist (the epitome of this idea of self-reliance) has currently served neoliberalism in exemplifying this notion to us all. The artist has become an example for the worker to become an ‘entrepreneur’, to become free and autonomous in making his own decisions, free in dealing with his own ‘personal management’, also as far as income and (in)security is concerned.

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Against Undisclosed Salaries – An Open Letter

Last summer Evening Class hosted an event as part of Antiuniversity Now Festival, facilitating a collective discussion on creative labour. Something that came out of the conversations was a shared frustration towards jobboards listing work without any information on wage. To follow on from the event, and put words into action, Evening Class have co-ordinated an open letter requesting all creative jobsboards stop listing work with undisclosed salaries.

The letter can be read here. Entreprecariat is proud to co-sign it.


The Designer Without Qualities – Notes On Ornamental Politics, Ironic Attachment, Bureaucreativity and Emotional Counterculture

Tear Gun by Yi-Fei Chen, 2016.


Some months ago I found myself in Berlin attending Re:Publica, an international conference on innovation meets politics meets branding meets tech. On the main stage, just after the vocal intervention of Russian chess master and activist Garry Kasparov, it was the turn of Dr. Nelly Ben Hayoun, experience designer and "manufacturer of the impossible". Ben Hayoun is unanimously described, by the likes of Hans Ulrich Obrist and Micheal Bierut, as a force of nature, "an inexhaustible source of renewable energy". While the sheer scale of her design experiences for clients like NASA, MOMA or Airbnb implies the work of a team ("we work, "we believe", etc.), Nelly Ben Hayoun Studios is evidently framed around a charismatic leader. Their productions are truly impressive, often including two dozen lines of credits. Faced with such a vast and energetic orchestration of talent, any practitioner blanches.

Nelly Ben Hayoun was there, in prime time, to present the University of the Underground, a new postgraduate course created by "dreamers of the day" with the goal of forming the "very hard working" critical thinkers and radical designers that our world is so much in need of these days. A school for the "the Willy Wonkas of modern times, the contemporary Joy Division’s, JG Ballard’s, Marie Curie’s and Rauschenberg’s, action researchers and designers, mythologists and makers of new worlds!" The experience designer stayed faithful to her endorsements: the performance was cheerfully chaotic, with an often giggling audience and multiple plot twists (speaking of charismatic leadership, at a certain point there were three Nelly’s on stage).

The University of the Underground, hosted in Amsterdam by the prestigious Sandberg Instituut but implanted in London as well, is just one among the copious amounts of shorter or longer experiments in alternative education and pedagogy. To stick with the field of design, the Scuola Open Source in the south of Italy comes to mind, as well as the Parallel School or the nomadic Relearn sessions. And, to zoom in the Netherlands, I can mention Hackers and Designers or Open Set. So, what makes the UUG a particularly fascinating case study? Besides its laudable commitment to tuition-free education (more on that below) and the ambitious plan to run the MA for 100 years, the bombastic branding, positioning and charismatic leadership of the University of the Underground, winking at grassroots movements and do-it-yourself experiences but at the same time emphasizing free will and personality, represents a good opportunity to reflect on the meaning of counterculture today and evaluate its potential role. As someone who is intermittently involved in design education, I’m interested in the ways in which institutions are able to seamlessly neutralize, regurgitate and later administer or even steer countercultural expressions. The main motivation behind these notes is an attempt to provide a multifaceted articulation of this process and understand some of its consequences.

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Work – and Everything Else You Do For a Living by Lucia Dossin

This contribution by Lucia Dossin is part of the special issue of the Pervasive Labour Union zine on the Entreprecariat. Read it here and download it for free as PDF or EPUB.

This is the story of a creative worker who needs to find a way to supplement his income. Ricardo is an architect. Some years ago, he and his friend Marcelo –with whom he studied– set up a studio (these names are fictional). Recently, he found himself embedded in a fundamental inversion of his work-life routine: in order to be able to pay the bills, he moved into the studio and rented his home via AirBnb. The perversion of the logic in his story doesn’t only revolve around the precarious condition of the creative worker, but is topped with a layer of bitter-sweet irony made of a mix of the ‘work from home’ model and something of the self-gentrification attitude that reminds me of the horror movie Get Out. I found his gesture quite interesting and was curious to hear some of his considerations about his profession. This text was meant to be a conversation – but he never replied to my email.

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The Funding Machine

I have made a new piece. It’s called The Funding Machine. Despite being fully conceptual, the artwork has a very practical aim. All that the machine does is transforming applications into grants or, more banally, text and images into money. Although the machine is smart enough to understand what can be transformed into money and what can’t, it is not perfect yet. It consumes quite a lot of body energy and produces waste: paintings, sculptures, installations, books, catalogues, etc. Luckily, some people seem happy to feed the machine with their energy, and to my surprise, many people appreciate its waste: they even pay a sum to admire it, take pictures of it, or bring it home. I’m starting to think that I shouldn’t attempt any improvement, the Funding Machine is fine as it is.