{"product_id":"issue-41-energy","title":"ISSUE 41: ENERGY","description":"\u003cp\u003e\u003cspan\u003eTight fascia, exhaustion. From the energy spent and drained in the routines of our days—from untangling ourselves from demands and expectations. But energy is also generative. And it emerges in the work of Mariuccia Secol in the textures of presence and absence that the stretching of fabric and skin have in common. Energy also pulses through Marina Vishmidt’s notion of infrastructural critique—and in her tireless hours of writing, teaching, and collaborating. For both Secol and Vishmidt, energy is everything, and this issue owes its impetus to their shared attention to energy’s rhythms and resistances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBirthed along the second wave of feminism, Mariuccia Secol’s practice has always been concerned with making energy collectively visible: in the worn fabric of aprons, the reassembled surfaces of fractured everyday objects, and the silhouettes that both reveal and hide the aging and exhausted skin of domestic workers. But her work never abstracted energy into data or symbols; it materializes the force of care, the weight of history, and the ongoing feminist struggle for autonomy and interdependence. Curated by Monika Branicka and Eva Brioschi, her first and long overdue retrospective will open this summer at Muzeum Susch and will offer a rare chance to experience how her forms sustain and transmit energy across decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe question of energy resonates throughout the intersectional projects emerging from Marina Vishmidt’s work, particularly as explored at the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eWhat Is Infrastructural Critique?\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e symposium at the Universität für Angewandte Kunst Wien last October. Her closest collaborators gathered to engage with her approach to infrastructures as enduring sites of social and political relations, tracing the long afterlives of slavery and ongoing forms of exploitation. Vishmidt’s infrastructural critique challenges the logic of institutional critique, proposing a form of questioning that cannot be fully represented, but must be enacted across and through institutions. Infrastructural critique is then a way of being attentive to the “dumbness” of certain conditions, as she called it, and of acknowledging how energy circulates through and against the grain of institution and discourse—as Danny Hayward reminds us.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy weaving these practices together with contributions from our broader network of writers, artists, and readers, our \u003c\/span\u003e\u003cspan\u003eEnergy\u003c\/span\u003e\u003cspan\u003e issue lets these forms and ideas ripple outward, coming alive across five chapters: \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSources\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, a conversation with Secol and a glossary on the rich vocabulary Marina coined; \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eCurrents\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, on the climate of philosophy; \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGrids\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, traced by low battery flows and virtual tours; \u003c\/span\u003e\u003cspan\u003eHeat\u003c\/span\u003e\u003cspan\u003e, the intensity of a legacy, friction radiating through figures of entropy, flames to dust; \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eConverters\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, the mechanisms that translate a call for proposals into renewal of ideals within reality; and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDischarges\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, the moments of release, play, and reflection that allow for recalibration. Through Mariuccia’s material insistence and Marina’s uncompromising critical gaze, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eEnergy\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e emerges as both methodology and manifesto—a call to inhabit the present and trace the invisible forces that hold it together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEnergy is ever renewing. As our labor faces challenge and precarity, we're fully current—recharging our visual identity with Studio Manuel Raeder. It doesn’t just display energy; it lets it surge, crackle, and remake the languages and knowledge we inhabit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith contributions by: Mariuccia Secol and María Inés Plaza Lazo, Danny Hayward, Helmut Draxler, Natascha Sadr Haghighian, Rose-Anne Gush, Taylor Le Melle, Marwa Arsanios, Maria Bussmann, Angela Melitopoulos, and Kerstin Schroedinger, Margherita Falqui, Anna Mańka, and Rachel Refael, Patricia Saragueta, Laurentiu Dragota, Dalia Maini, Paolo Caffoni, Katerina Hola, Andreas Petrossiants, Mattin, Tom von Synnika, Miguel (Guevara) Parra, Mehrgenerationenhaus Neukölln, Berlin\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eIMPRINT\u003c\/strong\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eFounder \/ Publisher \/ Editor at Large\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMaría Inés Plaza Lazo (Verantwortliche i.S.d. §18 Abs. 2 MStV)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eEditor in Chief\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDalia Maini\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eAssociate Editors\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDanny Hayward, Rose-Anne Gush, Annette Krauss, Sofia Bempeza\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eCopyediting\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eWilliam Kherbek, Anne Waak\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eStaeff Guenther\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslations\u003c\/strong\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eSumaiya Ali, María Inés Plaza Lazo\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eManagement\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eHannah Lu Verse \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eDistribution\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLaurentiu Dragota\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eArchive, Community\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFilipe Lippe\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLayout, Design \u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003eStudio Manuel Raeder\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e(Manuel Raeder, Cecilia Murgia, \u003c\/span\u003e\u003cspan\u003eAndrew Beltran, Sasha Sulikov)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003ePrint\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003eDie Rheinpfalz\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVerlag und Druckerei GmbH \u0026amp; Co. KG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOggersheim Printing Center\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDistribution of printed products\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFlomersheimer Str. 2 - 4\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e67071 Ludwigshafen-Oggersheim\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlle Anfragen an die Verlagsadresse\u003cbr\u003e\u003c\/span\u003eReflektor Monde gUG (haftungsbeschränkt)\u003cbr\u003e\u003cspan\u003eSchillerpromenade 10, 12049 Berlin\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ehey@artsoftheworkingclass.org\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDonate via Paypal: \u003c\/span\u003e\u003ca href=\"mailto:p@artsoftheworkingclass.org\"\u003e\u003cspan\u003ep@artsoftheworkingclass.org\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe current Issue is published with the financial support of the Department of Art and Communication Practices (KKP) at the University of Applied Arts Vienna.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKKP (Sofia Bempeza and Annette Krauss) hosted and co-organized the conference \" What Is Infrastructural Critique?” together with Danny Hayward and Rose-Anne Gush in October 2025.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arts of the Working Class","offers":[{"title":"Default Title","offer_id":57782238216456,"sku":null,"price":5.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0284\/1241\/1976\/files\/Screenshot2026-05-06at10.18.42.png?v=1778142658","url":"https:\/\/arts-of-the-working-class.myshopify.com\/products\/issue-41-energy","provider":"Arts of the Working Class","version":"1.0","type":"link"}