Attempting to create alternatives where there are none...

M

-----Original Message-----
From: [email protected]
[mailto:[email protected]] On Behalf Of Alex Foti
Sent: Wednesday, May 09, 2012 1:16 AM
To: [email protected]
Subject: <nettime> Skyscraper Squatted: the Precarized Cognitariat Rises in
Milano


Last Saturday a momentous event occured in Milan: hundreds of young people
working with art, theater, video, cinema, design, publishing, education and
the like took over the Galfa Tower, an abandoned 33-floor skyscraper,
strategically located close to Milano Central Station, next to the Hilton
and the Sheraton, symbolically positioned in between the Pirelli Tower, hq
of regional government, and the newly built Lombardy Palace, monument to the
arrogance and corruption of the Lombard governor, a reactionary catholic who
has been ruling Italy's most populous and wealthiest region since 1995, by
privatizing medicine and striking dubious real estate deals (most of his
junta is now behind bars or being investigated for embezzlement).

As the night progressed, thousands of people of all ages and classes flocked
to the skyscraper, which was soon alighted in blue, a beautiful spectacle
you could see from far away - it was like a lighthouse saying: come here o
impoverished creative worker, o alienated youngster, o writer and musician
in search of your people no matter the kind of celebrity you have. Everybody
who matters in Milano felt compelled to come to MACAO, this the name of the
new occupation, including the current city alderman for culture, the
archistar Stefano Boeri, who expressed praise for what is after all an
illegal occupation of private property, while assorted popstars and
novelists mingled with the crowd. Everybody danced 'til the crack of dawn..

What's noteworthy about MACAO is its magmatic creativity, its mushrooming
teams and committees, its crowded assemblies, and the many concerts and
theater performances (e.g. Motus) that has managed to stage in its first
four days of existence. Every day and night it's packed with people (so far
the first two floors have been colonized, while the third is a sleeping
space). The skyscraper has been abandoned since 1996 and its interiors were
scrapped (to remove asbesto). It's property of Ligresti, a Sicilian real
estate mogul who pretty much had his way in the 1980s and 1990s and reshaped
the whole city, before running into financial trouble when the asset bubble
burst in 2008. His financial holding is currently undergoing bankruptcy
proceedings.

Finally the spirit of the 99% is hovering over Milano, thanks to the
mobilization of the creative precariat impoverished and made unemployed by
the crisis. What didn't seem possible before the Great Recession, i.e. the
generational unity of all precarized workers, and especially the
radicalization of the creative class, is now apparent for all to see.
Consequently. MACAO has become the talk of the town. Bifo's cognitariat is
finally coming into being in the spaghetti city that hosts the country's
most important universities and creative industries. Its activation depends
only in small part on the contribution of movement activists: most of the
faces are new and politically inexperienced. ZAM, MilanoX, San Precario are
among those active, but the dynamic of the place is not determined by them,
but by an Occupy-style mobilization of hitherto passive people, a horizontal
chaos generating new radical democratic forms.

As the good news from France and Greece are finally cracking the armor of
Merkel's austerity, let's hope many of those who squatted the skyscraper
will join next week's Blockupy ECB protests in Frankfurt. The epicenter of
austerity and neoliberal policies is there. It's time to show Europe and the
world how unpopular the bank of bankers and its gospel of cuts to services
and jobs has become. They are gravediggers of society and enemies of
European democracy. It's time to stop zombie neoliberalism and its financial
oligarchy from inflicting yet more harm. In Milano, the creative class has
finally realized what is at stake.


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