Tuesday, October 6, 2026

Towards Communal Luxury:
Story of the ZXRZ in Leipzig


by Marc Herbst

Leipzig, 2026 -- The front of the complex is on a main street. The two street-level storefronts are a vegan restaurant and a book bindery, and in the first courtyard is a print shop. They print a monthly flyer announcing events at the long-running punk club in the courtyard. This popular club doesn’t have a website or a presence on social media. Person-to-person, practice-based relationships maintain the communal luxury that this place expresses.
In Leipzig today, you can get vegan food options just about anywhere. Asian fusion restaurants with abundant vegan options have mostly replaced heavy Saxon fare as the regional food. But not so long ago, when vegan food was hard to come by, that restaurant and its cooks were real innovators. They came from the punk community. And until Covid the restaurant always had one menu item, priced cheap for the vegan punks.    Now you can get vegan doner, vegan pizza, and all kinds of vegan meat in the supermarket cooler.
Above the two storefronts below are the complex’s largest residential buildings. This complex was initially an electronics factory, although you’d think it had been a printshop because of the old presses lying around. Just to the right of the restaurant an ornate clunky metal gate is almost always open. Through the gate a tall tunnel leads through the front building into that first back courtyard. Passers-by always stop to look at the street art glued onto the walls. On one side you can get a month’s worth of event posters.

Take it With You


Beside an ancient printing machine is a bunch of shelves for neighbors to leave or pick up shirts, pots, bike parts, drums, chairs -- whatever has been left. Here there is a tradition of leaving items in boxes with the tag “zum mitnehmen” – “to take with you”. I think this arrangement came before the more organized and centralized but DIY second-hand depots around Leipzig. But the best of this second-hand stuff is not left here. Many people bring their old stuff into the second courtyard and its free shop.
Zxrx, the concert venue that gives the whole complex its name, is attached to the free shop. The venue is two floors: it shares the basement and ground floor with the free shop and the DIY bike repair shop. Upstairs is a band practice space and a place for travelling bands to stay overnight.
Deployed around the building are a metal workshop, wood workshop, two garden spaces and several other storage sheds that some of the older male punks hanging outside use for ad hoc bike repair and small chores.
The free shop has a website and uses some social media. The concert venue does not. Zxrx has been hosting concerts since the end of the DDR. (It was occupied in late 1990.)


You Had to Be There

Publicity is entirely analog, comes out each month, and features original art. The printshop runs off a folded A3 flyer listing the concerts and the bands playing at Zxrx. There’s always a short text description -- sometimes poetic, sometimes like a little review, sometimes scientific in its music-nerdiness.
The flyer also informs about hours at the free shop and bike repair space, as well as the times for the weekly KüFa’s, or “Küche fur Alle” (Kitchen for All). It lists the other KüFa’s around Leipzig town, cooking at community spaces managed by the city’s vibrant punk and queer scenes. Gigs and events at other spaces throughout the city are also listed. Many of the punk and post-punk clubs are in this neighborhood of Connewitz; many green, left, queer and internationalist spaces are located in other neighborhoods. That said, we mustn’t forget that the first queer punk parties and ladyfests took place at Zxrx.
The flyer advertises spaces outside of the city, in the surrounding former east German state of Saxony, and in Thuringia and Sachsen Anhalt. The club tries to support other punk projects in whatever ways they can. While Connewitz, and Leipzig in general, has a radical left reputation, Saxony and the wider former East is the home to some of the nastiest far right groups in Germany today. Here punk is synonymous with DIY leftist cultural organizing rather than a specific kind of music style.

Connewitz District is Hardcore

Connewitz earned its reputation as a militant leftist center as East Germany collapsed in the transition to a united Germany. The East German government had made efforts to clear the neighborhood just before the wall fell, and a few squatters had already moved in.


[Editor’s Aside: See the OccuProp blog on the “Tutenhaus”, a Berlin squat movement that took place during this same moment of “die Wende” -- "Germany in Autumn #3: The ‘Trout Farm’ and the Free Party Scene in the ‘90s" (2022).]
During the transitional period, the alternative scene in the neighborhood blossomed besides a general period of police violence, right wing threats and euphoric lawlessness. From the punk social centers and on the streets in this period known as the “baseball bat years,” the squatting scene ran Nazis out of town as individuals in the city’s left-friendly government helped normalize the squats and cultural centers. This place was a beneficiary of the anti-fascist successes of the era.
The stubbornly beautiful continuation of the paper flyer reflects the affect of a scene that has had the luxury of time to stew in its own juices. An hour away from cheap 1990’s Berlin, Leipzig didn’t face any real gentrification until after 2010; then the de-population that had hit the city after the de-industrialization of reunification finally reversed. So the scene developed through more than 20 years of low and no rent, through Riotgrrrl and the alter-globalization movement that had scene members traveling through Prague, Genoa, and just traveling as people do. Partying, doing anti-fascist organizing, neighbors met and built resource centers like this one. There is an annual summer festival where friends of the venue come from throughout Europe to party and rekindle social bonds, listen to music, enjoy joke bands, drink, whatever.

The Anti-Deutsch

In dialog with these movements, tensions stemming from the fallout of German reunification came to shape a uniquely German left political tendency; the anti-Deutsch movement. Now far less popular than it used to be, the Connewitz neighborhood is known in the city for being the anti-Deutsch neighborhood.    To glimpse at how this odd radically “pro-Israel” leftist faction movement could have emerged, you have to at least appreciate how the community actively fought the far right before the far right also started to visibly parade with Israeli flags. I have little interest in discussing them further in an article about left cultural centers -- except to say that though Zxrx is not an anti-Deutsch space, it expands upon an anti-Deutsch critique about German nationhood to a wider appreciation of the problems inherent to nations and borders. There is a “no flag” policy in the club. [ENDNOTE]
(If you want to learn more about the anti-Deutsch movement, I would suggest listening to this excellent and critical podcast by Emily Dische-Becker “on how Germany became attached to a wildly narcissistic anti-antisemitism and Israeli proxy nationalism that have made it one of the most anti-Palestinian governments on earth.”)
The monthly flyer is passed hand-to-hand by people living in the neighborhood who at least know each other by sight if not by name. While controversies surface online, this is a place far away from the slow and steady personal relations of a venue that does not concern itself with a digital platform. Controversies appearing there about differently held ideologies may only be resporough slow, locally distributed paper flyers. This is an interesting conundrum.
Remarkably, Leipzig has several spaces of left culture. Subcultures map onto neighborhoods that developed during the periods of revitalization. Connewitz embodies the post-DDR alter-globalization era of liberated tech, anarchism and Riotgrrrl. The West of the city through the early 2000s has large city-run sites with a decidedly left-green appeal to meet that generation of newcomers’ cultural and political bent. It served as a city-sponsored model for post-socialist cultural stabilization.

Decadal Changes

The city’s university had begun attracting students, many of them left-leaning. In this moment, the government rushed to facilitate alternative housing models rather than face years of squatter resistance. The East of the city has been the last to develop after the end of the Cold War. When it did, its abandoned housing stock became home to large external migrant communities, and it has some of the most sizable housing projects. Its left face is younger -- very queer friendly, and its politics are the most international, reflecting the overall diversity of the neighborhood.
Still, community spaces there appear to be the most precarious, reflecting the capitalization of real estate and the general rightward trend of state politics.    The South has the bulk of the independent and established institutions with real resources – property, experienced staff, solid community support, years of meaningful memories and appreciation.    This is because they were established when real estate was not an investment, and the city was emptying.   
Zxrx is one image of what community luxury could be. Because real estate is now a thing, there is a real possibility that the younger queer and green left cultures will not be able to establish and hold onto resources in what have become their neighborhoods.
Zxrx and its free shop project is one effort to overcome this style and generational separation. While I associate the green West of Leipzig with electronic and rave, the East with hip hop, and the South with punk and post-punk, the venue plays all kinds of music. But as a good organizer knows, passive participation like attending a concert does not build real community. What does is working together on projects over time.

Why Buy?

I don’t know when Free Shops proliferated here. I can’t help but think of the Digger’s Free Store whenever the name comes up, or Claes Oldenberg’s Store -- both anti-authoritarian responses to consumer society. There are at least three free shops in town. And after working in Zxrx’s “Kijuwe” free shop for several weeks, it feels weird to think about buying clothes ever again. There is just so much of it, floating around for free.
The Kijuwe takes up about three rooms of space, and it’s packed to the gills with donated clothes as well as books, table settings, pots and pans, and weird stuff. The city’s DIY scene has created a list-serve for free items, and sometimes members of the Kijuwe will ping somebody who wants to get rid of 25 old computer monitors, or a bag of hand-knit socks from an over-motivated knitter. Those special items might sit behind the counter, on offer to someone in need. Or to someone who asks, or to volunteers, or friends of friends. Kijuwe organizes with local refugee centers to make large donations of seasonal clothes.
Though the Kijuwe has money from grants, its method is to stick with the volunteer ethic that supported the wider project’s development. That is, it values unpaid and volunteer hours, knowing that collective and free labor creates more solidarity and love between people. Its bonds are stronger. This, of course, from a generation of people and within a neighborhood that is more settled.
The Kijuwe aims to become a center for the commonwealth and skills of the city, generosity, inclusivity, handwork, time. It aims to become a kind of punk degrowth center. Plans are in the works to attach the outdoor refrigerator to the power supply to make a public refrigerator. The city already has a discounted “tafel” where, if you register,you can go and retrieve out-of-date food items. Some of it is great organic bread, cheese, milk. But there is also a network of DIY food sharing pick-up sites where dumpster divers re-distribute their bigger scores.    The problem with this more DIY way of food-sharing is that perishables get damaged in the heat. The refrigerator project aims to address that, joining other public refrigerators that developed internationally through the Covid era.


Some Are Seeds

The Kijuwe has a neighborhood seed library. It is tended by an autonomous collective that occasionally meets to organize the library and host seed-sharing events.    Seed libraries, for those who don’t know, allow gardeners to take seeds out in spring to plant for the growing season, harvest the produce, and then return new seeds from the years’ planting when ready. The library thus also promotes seed selection to produce more climate- appropriate plant varietals.
The place is pro-repair. It has a free bike-repair shop staffed by people who can help you repair your bike. It has a FLINTA-only repair day (FLINTA is a German acronym for women, lesbians, intersex, non-binary, trans and a-gender people), as well as a day for mixed populations. It also has a clothing repair station with sewing machines and a day when you can come in and mend whatever, also staffed with a knowledgeable volunteer.
Outside, they are installing a small garden and rainwater barrels. What can be grown in the garden that meets the interest of the yard’s frequent users and also pulls in occasional and interested gardeners, and food preservationists, people interested in both freezing, circulating, or fermenting foods.
The kitchen can be used when the free shop is cleared out for events -- a teen art show, a Ukrainian film screening night, an information night around German abortion laws, as a small community theatre space, a place where members of the anarchist women’s soccer team meet.

Who Will Help Out?

All these projects require staffing. The recognition that the Kijuwe could bring in new and diverse populations for something other than music only recently emerged. New procedures, new protocols, new relations, new responsibilities. New ways of connecting out and making and enriching solidarities. New things to do with long days of either nothing to do, or short late afternoons at the end of a tiring workday. There is an upcoming Kijuwe weekend festival with a hip-hop dance workshop, donation-based coffee bar run by an old punk, and various upcycling workshops.
There must be ways to overcome internal, often generational or situational left divisions, in a leftist city sitting within a far right state. The stable situation of the  Kijuwe, initiated during an era when real estate was not a commodity, provides its contentious organizers  a place to try and overcome tensions.    As a social center that is used by a cross-section of society, the Kijuwe can be a resource for collective mediation. As a mirror of communal wealth, the luxury it affords can be of benefit to a wider community.

Afterword:
In light of the ongoing rise of the far right within the state of Saxony and neighboring regions, spaces like Zxrz can continue to expand beyond their punk origins in order to demonstrate ways that open, grassroots and self-organized infrastructure can work. This is based upon their efforts, but dependent upon wider political possibilities that normalize anti-racist and queer friendly sociality that supports us all through the common – also uncommon and extraordinary individual and collective – difficulties of life.

MARC HERBST is an interdisciplinarian, an artist, theorist and editor, whose current work focuses on the relationship between individual nighttime dreams, grassroots culture and fine art in the maw of climate and governmental collapse. His long-term interests circle around ecology and also the relationship between culture and social activity and qualitative political change. He is co-edits the Journal of Aesthetics & Protest
https://joaap.org/
https://marcherbst.wordpress.com/

[ENDNOTE]    If you want to learn more about the anti-Deutsch movement, I would suggest listening to this podcast by Emily Dische-Becker “on how Germany became attached to a wildly narcissistic anti-antisemitism and Israeli proxy nationalism that have made it one of the most anti-Palestinian governments on earth.” https://thedigradio.com/podcast/the-german-question-w-emily-dische-becker/


Wednesday, May 27, 2026

CSO EKO of Carabanchel in Madrid Faces Eviction


EKO at night, during a recent demo against eviction

I haven’t done the rounds of Madrid social centers for a while now. I popped in to EKO in Carabanchel recently to see the assembly discuss the future of the project, and indeed of all Madrid’s okupas – esp., social centers in occupied buildings. EKO is 12 years old. Now it is on the brink of extinction (bolded text is glossed below).
This month saw the 15 year commemorations of the 15M movement. The huge encampment by indignados in the central Puerta del Sol spread over Spain during that extraordinary year. 15M was just one of the “movement of the squares” throughout the West and beyond. Here it spurred the rise of the Podemos electoral party. Now it is a distant memory of optimism and forward progressive movement, a faint voice of bygone history amidst the ceaseless propaganda of a new era of reaction.


Program of the recent festival at EKO, @eko_carabanchel on Instagram

The revanchist counter-democratic movement of capital and its governnment partners is bursting with brio. And, with their control over most legacy media of communication, they are eager to let us know. It’s TINA† time again.
I’ve started out a few times to blog the slow-rolling repression of citizen initiatives since the electoral defeat of the left in Madrid. My blog folder is full of false starts which I never posted. It always seemed to require more clarity, more research, and closer attention to the wails of those whose lives were being impoverished. More sadness.
Over time, years, decades, the autonomous movements have accommodated to the rising pressure of rent-seeking capital and its government partners. In some European cities – Amsterdam, Zurich, Paris – governments have given these movements room to maneuver. That is only sensible, in the interest of preserving their creative contributions to the fabric of the metropolis. Capital makes money, yes, but without knocking the stuffing out of striving young people. That’s part of an enlightened technocratic governance, which has never been a feature of the Spanish rightwing.

Madrid is like a Big Cruise Ship…

Here in Madrid today there is zero tolerance for what goes against the civic whims of big capital, and the incessant commercialization of every aspect of life.
Madrid now is going in full for touristification; the degradation is everywhere. More and more trashy chain stores open where neighborhood locales used to be. Crowds so thick you can't walk the streets in the center. Drunks yell and bash into tavern doors in the evening.
The masters of the revanchist city don't suffer this. Their residential districts are quiet. On weekends and holidays they leave for their second homes in the mountains, or jet off to a resort.
To be sure, Madrid is still a great city, and the pleasures of this town, cafes, bars, plazas and more, still glimmer on summer evenings.

… Captained by Pirates

But it’s more and more about hustle and making money. The pace is picking up. Young salarymen in a hurry shove past on the street. And it’s emulating New York City in another way, where the model of exploiting artists' districts for high-end real estate value began.
Urban development based on pure destruction is back. (Gaza is the ghastly paradigm.) Organic urban fabric, the lived texture of neighborhoods, communities and creative districts is conceived by bronco-busting capital as terrain vague to be made over into consumer zones for the bourgeoisie.
How to stand against this?
That’s the urgent question facing the partisans of the EKO social center in the barrio of Carabanchel.
The rightwing mayor campaigned to crack down on okupas, squatters, very broadly construed. His campaign was animated by vivid lies. He has fulfilled his promise. As the fascist Vox councillors in partnership with the ‘moderate’ right took office around the city, they first closed all the legal citizens’ projects around Madrid. (Those are the blog post reports I couldn’t finish.) Now the city has moved aggressively against the social centers in the gentrifying barrio of Carabanchel. [FN – Distrito 11]

We’re Coming for You, Punk

And they have been booming it. Some 50 police broke down the door of CSO Diskordia in February. The eviction, ordered in secret, was assisted by dogs and helicopters. This state terrorism was directed at a persistent collective of anarcho-punks which had previously run La Gatonera in two other buildings. They do punk concerts, but the group has a strong activist bent, working for Palestine and against gentrification. [FN – Spanish Punk[ These are not popular causes in the echelons of government and big capital.
Next it was the turn of the CSO Vetades. That was a real April drama. The eviction followed a fire which erupted during an attempted demolition of the building with the people inside. The owners, a company dedicated to luxury development, had bought the entire block, and are building artist residences and art gallery spaces. So artists with money can prance around unconscious of the ruins beneath their feet of their former fellows.


CSO Diskordia in action in January (via @Dalevuelta, Facebook)


The eviction of CSO Vetades eviction; photo from El Salto

The EKO now is the big potato hovering over the boiling oil.
The capital group which bought up the vast building (at a bargain price because – yes, it was occupied) has a foot in Miami. There the blood of exiles is running hot at the prospect of a “reconquista” of Cuba. And true to form this bunch has called on the thuggiest elements of Madrid’s rightwing (they’re called Desokupados) to hang around EKO and try to fuck with the okupas, force the door, glower ogreishly, etc.
“These aren’t people from the neighborhood, are they?”
No, they are not. They’re internationally networked thugs for hire working for fascist capitalists.

Deep Roots in Bloody Ground

EKO isn’t only a big building. It’s in a barrio with a deeply resonant past for the left in Madrid.
Since its founding, EKO has been the home of the Ateneo Libertario Carabanchel Latina, a group of elder anarchists which has its roots in the experience of prisoners at the Franco-era political prison in Carabanchel (1944-1998). The English anarchist Stuart Christie was imprisoned there for years. [FN – Christie] Many of his fellow prisoners were shot. Leah Patten tells the story of the vast panopticon prison which was squatted by artists after it was abandoned, and demolished in 2008.


Stuart Christie's jailhouse friend Miguel Garcia in London (1976; photo Phil Ruff). Garcia founded the Centro Iberico anarcho-punk music venue there. A new book has the story….

Carabanchel prison during its last days, when it was occupied and heavily graffitied by artists (photos on Madrid No Frills website © Mark Parascandola)

EKO has been occupying on Calle del Ánade for 12 years, and I met some of these Ateneo men when the project began. They talked and moved slowly, but very deliberately. Like tai chi.

Big Arty Party

The EKO of today shares another thing with the final years of that long gone house of detention – it's full of artists.
As I sat with the assembly, a noisy crowd of folks entered the EKO's big ground floor, moved slowly past the mercadillo of artisans with t-shirts, ceramics, embroideries and zines, and paraded up the stairs behind the bar. They were on their way to an art show on the 2nd floor, having its opening that day as well. This was the 3rd “Encuentro de Arte y Creatividad en Carabanchel”, an indigenous counterpoint to the barrio's city-sponsored art gallery festivals.
The EKO assembly on the ground floor heard a statement of support read by a rep from CSO La Rosa (@cso_larosa), called the “chic okupa” in by El Mundo. It’s bursting with activity groups, and English is spoken among the internationals who come there. I recently attended a weekly drawing party there in the studio of an artist who was away, showing in NYC.
The rep told us the experiences he had at EKO inspired the programs at La Rosa, which is principally a cultural center. He learned how to “do projects with little money”, a reminder that youthful creativity thrives if exercising it doesn’t cost its makers money they don’t have.
Another solidarity statement came from “La Enre de Tetuán”* (@la_enredadera_de_tetuan). The name means “the ivy”; it rhymes with the title of a recent touring exhibition of political posters and other designs at Reina Sofia museum, “Giro gráfico: como el muro en la hiedra” (“like the wall [covered in] ivy”).


“La Enre” was the site of the zine event Pichifest in 2023, in which this blogger disported himself dressed as a Polish elf (in tribute to the Orange Alternative movement, a surrealist underground during the 1980s). I sold squatting research books, as well as posters from the JustSeeds Peoples’ History series, printed off from the website. Few sales, but some interesting conversations. I blogged the experience here.

The Spanish are stoics, but the mood at the gathering on Friday evening seemed glum.
After we heard fullsome declarations of support from other okupas, the assembly went round-robin with emotive statements of the value of the EKO experience.
They spoke of the feeling of belonging they experienced at EKO as they “shared this small ideal world”, bidding “adios a la sistema” as they did so.
A young woman* who grew up with EKO being available over its many years of existence observed, “Everywhere you have to pay now. All the cultural spaces.”
The sheer injustice of closing EKO was expressed in one clear observation about the city’s intent to remake Carabanchel – “The artists are here.”
The EKO assembly circulated a sheet asking for suggestions, and I made some. (Illustrated below.) The key challenge (IMHO) is to overcome the hangover habit of self-isolation, what the Italian movements call auto-ghettizzazione (self-ghettoization). That’s a rejection of anything outside of the movement, be it parliamentary politicos, city officials, business owners, conventional cultural and political organizations – all of that great outside, la sistema. Which, as a consequence, remains ignorant of the many achievements of the social centers, ignorant of their increasing importance in the cultural and social life of young people in this city.
The special experiences they shared, the camaraderie, the joys and pains enfold the okupas like a blanket. They are precious, these lived moments, but they are also not really public. They take place in a place apart, as if in – as the name of the ur-okupa of Madrid has it – a Laboratorio (1997-2004).
“Lobby lobby lobby”, I wrote to them. And, historian that I am, “Above all, don’t leave without a book.” Record and claim your histories. They will stand as proof of the gravity of the crime, the official murder of proven potentials that is in process.

Fuck All Those Fucking Fuckers

Are you sad or angry?
Both. I’m angry because the people who built EKO are not being respected for what they have accomplished. They’re being thrown to the dogs.
And I’m sad too, which drives my impulse to call for monuments, to make books of record that make memory concrete.
It is in the nature of most okupas to end. Like very sick children, only a very few projects pass into a longer life, or lend their energies to something else.
What else? In Madrid, Caixa Forum, run by a foundation, was inspired by early okupas, as a recent historical exhibition there acknowledged. Tabacalera autogestionado may recompose itself alongside Tabacalera official after construction is done -- MNCARS is standing by during the renovations. These two are in the center, in the ‘cultural strip’of institutions intended to gentrify Lavapies.
Now new okupas in the center are not allowed in Madrid. Patio Maravillas and La Ingobernable were evicted, and re-occupations squelched. So collective projects have been pushed out to the surrounding barrios of Madrid. But out there they sren’t given the chance to turn into something useful for their communities. They are simply evicted, and their energies scattered to the winds.
Anarchist forces are gathering for the next assault on vacancy. That’s a good thing. It needs pointing out that while they are allies, these are not always the same people who made EKO what it became. That delicate mix of forces political and cultural was a long time in composing. That it is to be snuffed out in Carabanchel is a crime against culture.
In 2017 Santiago Sierra affixed a plaque to EKO during an exhibition declaring it a monument to civil disobedience (the JACA group show; Monumento a la Desobediencia Civil). The plaque has disappeared, and soon as well may the place it commemorated.





Real human energy, as it expresses itself in projects like EKO, builds monuments in sand in a hyper-capitalist society. These oaeses of freedom and creativity arise; they cannot be legislated. They are not understood in conventional terms, and consequently they are rarely respected. It is utopian to hope that this meatheaded city government would consider turning EKO public, like Rue de Rivoli in Paris, Rote Fabrik in Zurich, or even Caixa Forum in Madrid central. That takes vision; current leadership has only coins for eyes.


EKO manifesto handed out in the assembly


My scribbled suggestions in Spanglish

NOTES

“on the brink of extinction”

Susana Albarrán Méndez, “El EKO detiene un nuevo intento de desalojo del centro social por parte del fondo Midtown Capital Partners SL”, 13 mar 2026, @elsaltodiario.com

“movement of the squares”
Can search “movement of the squares political: for articles reflecting on this moment. I worked a bit with the Austrian artist Oliver Ressler in Madrid for his 2012 video project “Take The Square” (see https://www.ressler.at/take_the_square/).

† TINA is the acronym ascribed to British PM Margaret Thatcher for “there is no alternative” to capitalism.

[FN - Distrito 11]
Carabanchel is being promoted by official tourist websites as a ‘bohemian creative hub’, the new hip barrio. The full wonder which is unfolding in this residential working class barrio is explained by this city hall website as “La revolución creativa de Carabanchel ya tiene nombre propio: DISTRITO 11”, https://diario.madrid.es/blog/2024/05/13/la-revolucion-creativa-de-carabanchel-ya-tiene-nombre-propio-distrito-11/



[FN – Spanish Punk[
A new book in English by David Vila Diéguez, Spanish Punk: Screaming for Democracy in a Postdictatorial State (P.M. Press, 2025) clearly explains the imbrication of politics and punk music in Spain since the end of the Franco dictatorship in 1975.
On the evictions of Diskordia and Vetades, see:
Diskordia – Laura Prieto Gallego, “Un refugio cultural menos en Madrid: desalojan Diskordia, centro de ocio y apoyo vecinal de Carabanchel”, 5/2/2026, @publico.es
Vetades – Susana Albarrán Méndez, “Amenazas, acoso, policía y un incendio: integrantes del CSO Vetades se ven forzados a abandonarlo”, 30 abr 2025, at @elsaltodiario.com

Ateneo Libertario Carabanchel Latina
https://radar.squat.net/es/madrid/ateneo-libertario-carabanchel-latina

[FN – Christie]
After his release, Stuart Christie became a leading figure in English and Scottish anarchism, and a favorite target of UK police persecution. Christie’s book tells the story of his 1964 arrest and imprisonment. (Stuart Christie, Granny Made Me an Anarchist: General Franco, the Angry Brigade and Me; multiple editions; see AK Press; online at https://archive.org/details/grannymademeanar0000chri). A brief review of the book discusses the UK context – https://www.katesharpleylibrary.net/zkh2cv. Christie was an active publisher, and a key networker with the exiled Spanish anarchists. Since his death new books have appeared on these connections, esp. Nick Soulsby's Born of Struggle, Living in Hope: The Anarcho-Punk Lives of the Centro Iberico, 1971–1983 (PM Press, 2026), and anthologies of Christie’s writings.



On the prison of Carabanchel
Leah Patten, “Madrid No Frills” website, 16 February 2018, “The story of Madrid’s most controversial prison” https://madridnofrills.com/madrid-prison/ Photographs © Mark Parascandola.

“chic” CSO La Rosa
Daniel J. Ollero, “La Rosa, el edificio okupa 'chic' de La Latina con clases de baile y talleres de costura donde rusos y ucranianos charlan amistosamente”, 5 julio 2025, @elmundo.es

* A confession: Despite years in Madrid, my Spanish remains weak, and my comprehension of the speaking events I attend is spotty. Hope I got it right!

“blogged it here”
See “Art + Squat = Pichifest”, at https://occuprop.blogspot.com/2023/11/art-squat-pichifest.html

Enredadera/hiedra
“Giro gráfico: como el muro en la hiedra”
PDF catalogue here:
https://recursos.museoreinasofia.es/Publicaciones/giro_grafico.pdf
video of the "Giro Grafica" https://www.museoreinasofia.es/multimedia/giro-grafico

#CentroSocialesOcupados
#EKOCarabanchel
#CSODiskordia
#CSOVetades
#CSOLaRosa
#AteneoLibertarioLaLatina
#MadridNoFrills



Zine documenting a recent facade exhibition at La Rosa (@la_multiusos). The show was attacked with lawfare by the Zionist lobby Action and Communication on the Middle East (ACOM), and had to be taken down.

Monday, December 2, 2024

La Canica Again – A Game of Marbles



In the last post, Leah Pattem told about the end of La Canica in Lavapies. This occupied bank was one of a number of long-lived social centers in Madrid. The animating idea behind La Canica was utopian. It was named for an idea of community economics, la canica, the marble, that would replace fiat money as a medium of exchange in the barrio. Now I want to explore the background of that occupation, and some of the ideation behind the dream of a community currency.

Leah Pattem wrote of what La Canica meant for the community in Lavapies. It was a center for the the movements fighting to maintain reasonable rents in the face of private equity interests which are sucking up apartments all over Spain.
But that is not why it was occupied. What does it mean for activists to take a bank? To take a school? Are these vacant buildings simply targets of opportunity?


Photo by Leah Pattem

In this post I’ll pick a bit at the ideology behind La Canica, the dream they were dreaming through their ongoing collective struggles. I’ll also try an iconographic reading of the now-expunged mural on the exterior wall of the expropriated bank branch.
Some of the most useful and strongly supported occupations in Madrid have taken place in abandoned educational institutions – that was the late Ingobernable (2017-19), and the freshly evicted La Atalaya (2014-24). While taking an abandoned bank was something new, it had been prefigured.
The Las Agencias activist art group organized ludic dances in banks during the ‘90s before the time of the crisis (Leónidas Martín, 2022). The great assemblings of 15M in 2011, provoked by politicians’ response to the financial crisis of 2008, cohered the radical movements like never before. During the years after, when the evictions of long-time rental tenants started to mount up, activist collectives took a new tack.
In the spring of 2016, activists took a bank in the Gracia barrio of Barcelona. They called it Banc Expropiat, and the struggle to hold that premises went on for years. In the fall of that year La Canica was taken in Madrid, christened Banco Expropriado.


(It was not the first here. Another group of anti-fascists and feminists took a closed office of the Caja Madrid in Moratalez, well outside the center city. I visited that one, called the Bankarrota.)

What Does This Mean?

These occupations add up, like the cascading clacks in a game of marbles, to a set of actions that propose a different kind of economic arrangement – a solidarity economy. The organizers of La Canica explained that they were building “a network of exchange… in various neighborhoods” in Madrid, promoting “the formation of cooperatives and the collectivization of resources and means of production. It is, in this sense, a tool that is being very useful for the direct and common organization of our lives, allowing goods to circulate between us by reducing our dependence on the Euro and wage labour” (Daniel Martin, 2016).
The symbol of this solidarity economy was the ostensibly valueless toy marble, proposed as a community currency. Artists love to make their own money. As an antiquarian, and one-time junior philatelist, I collected this stuff. I got “boniatos” from Madrid’s own co-op economy fair years ago. I did not trade mine in for lunch, as you can see then-mayor Manuela Carmena doing in the photo.


The mayor Manuela Carmena fingering her boniatos in 2015

My favorite piece of this kind of local currency was a scrip used at the Earthaven community in North Carolina. It passed from hand to hand, with multiple signatures of its users as validations. One fellow was persuaded to cash his out to me. I always hoped to pass by La Canica and buy up some marbles, but I never did.
Maybe there’s still a chance, as the Nodo de Producción de Carabanchel, closely involved in La Canica, was active as recently as last year. Carabanchel is a quickly gentrifying barrio of mixed residences and workshops, the coming artsy-fartsy part of the city. I’ve blogged about events at the social center there, ESLA Eko. But I’ve never seen those mythical mystical marbles.

Beats for Resistance

A manifesto still on the Nodo dePdeC website references the electronic music festival in 2023 that was shut down by the police (see my O&P post, “More Police, Less Music?”). It expresses a clear political intent behind this cultural program, a program which the city recognized as dangerous.
This is the convergence of culture and politics which artists are putting up against the bullfighters managing the regression of cultural agencies in rightwing controlled parts of Spain, the culture that rejects the compromises necessary to work in institutional spaces and, like the Pichifest zine fair, organizes in okupas.

The Mural at La Canica

La Canica was decorated with a very elaborate mural which has been whitewashed. Who did this mural, and what does it mean? I can read the many hands – reaching, being severed, bleeding out – as an allegorical representation of people’s interactions with the financial system as embodied by the bank that once occupieid the storefront. The fingers are being damaged, and seem to be looking to feel out a better way. The floating marbles, "las canicas", can signify that way which the fingers just can't seem to grasp.


Photo by Leah Pattem

Even the uphill part of the painting, the super-ornamental tattoo-like letters, is hard to read and cryptic in meaning: “Quien roba un ladron” might read as "S/he who steals" or "S/he is a thief" or even "Who robs the thief".


photo at: thediscoveriesof.com/madrid-graffiti

The artist(s) surely know their intentions best. It's signed, it seems, “ART SEN ALE”, which I couldn’t search up. In a sense, most street art reads as anonymous, circulating as images and not as authorial works. They are kind of public mysteries. Leah Pattem blogged on this several years ago: "Discover the dark messages hidden in Madrid’s street art" (11 November 2018 https://madridnofrills.com/madrid-street-art/) writing, “Although street art is deeply connected with gentrification, it often gives a voice to the victims.”
In truth, a lot of this art isn’t really that hard to figure out!

The Whole Thing Is a Cruel Joke

Exchange is mysterious. Money is ridiculous. Maybe it is like democracy, the least worst system so far for allocating the means of subsistence and production. Only now power and money have pretty much collapsed into each other. Those who have it are gaming it fiercely in the form of equity derivatives and crypto-currencies. The absurdity is patent.
But what, like the mystical canica, could possibly replace money? That is the question, which the painted mural cannot envision, although it pictures clearly the harm bank finance does.
I also collected what is called “primitive money”, mostly African. I was delighted once to get a small bunch of what sellers called “Kissi pennies”. The story about how this "money" was supplanted on a website about Liberia is instructive, and involves French and British colonial governance, and the U.S. rubber company Firestone.
The French have always loved les monnaies primitive. Since early days their colonists have had to work out how to eliminate local indigenous systems of exchange in order to enslave populations to the system of the franc. Image search = “acheter des monnaies primitives” to see the incredible variety of forms devised for who-knows-what types of transactions in Africa.



Kissi "pennies"

The go-to book in Engliish on “primitive money” is still Paul Einzig, Primitive Money: In its Ethnological, Historical and Economic Aspects (1950). Einzig was a financial journalist specializing in the analysis of international money markets.
How these objects encoded value and how they were transacted should not be a question for the theorists of supercession, like Einzig, but for economic anthropologists.
When I wrote my text on the political economy of art, I looked to the best known of these, David Graeber. I found his Toward an anthropological theory of value : the false coin of our own dreams (2001), based on his fieldwork in Madagascar, rather inscrutable. (Too shy, I did not try to contact him while he was still alive.) The book by his colleague, Keith Hart Money in an unequal world (2001), was more useful.
Like everybody else, Graeber began with Marcel Mauss, Essai sur le don. Forme et raison de l'échange dans les sociétés archaïques (1925), in translation as An Essay on the Gift. (Note, he writes “archaic”, not “primitive”.) Mauss’s thought inspired the French journal La Revue du M.A.U.S.S., which Graeber attended. (His essay Graeber’s essay "Give It Away" is on their website now.]
These ideas fired artists’ thought at the turn of the century. That’s clear in Ted Purves’ edited collection of texts, What we want is free : generosity and exchange in recent art (2nd edn., 2005), in which different artists tell how they realized the gift in their practice.
So it’s possible, on a local, episodic, experimental level, to loosen the grip of money on our collective throats. How to do that is an art. It is the art of acting, as the title of a recent book of essays on Graeber’s work has it, “As if already free”.

Farewell to La Atalaya

It is something of a dark time now for idealists. Last month another okupa was evicted, La Atalaya in Vallecas. For ten years La Atalaya had been a a multi-purpose space inside a big abandoned school. It had a library, a learning program, a metal-working studio and bicycle workshop, and multiple recreational spaces, including a boxing gym, skate ramp, and urban garden. I attended a fiesta there a few years ago. The former schoolyard was packed with children enjoying circus performances, puppet shows, and each other.
It is dispiriting when important self-organized centers are closed without notice and without negotiation. Social and recreational needs which are fulfilled in those places are simply amputated. Since it is Vallecas, a traditionally resistant barrio of Madrid, we can be sure that this blood will rise again.

LINKS

#BancoExpropriado #SolidarityEconomy

Leónidas Martín, “From Las Agencias to Enmedio: Two Decades of Art and Social Activism – Part 2 of Preparing to Exit: Art, Interventionism and the 1990s”, 15 Nov 2022
https://internationaleonline.org/contributions/from-las-agencias-to-enmedio-two-decades-of-art-and-social-activism-part-2/

La Bankarrota | centro político kolectivizado
https://labankarrota.noblogs.org
22 abr 2016 — Una antigua sucursal, no de Bankia, sino de Caja Madrid. Ha llovido mucho desde la última vez que sus propietarios se preocuparon por él, pero …

Daniel Martin, "Activistas de Banco Expropiado 'okupan' y rebautizan una antigua sucursal de Bankia en Madrid", 21 October, 2016
https://www.elmundo.es/madrid/2016/10/20/58091ad5468aebaf568b45b2.html

Community Currencies
Ester Barinaga and team at Lund University, Sweden
https://www.lusem.lu.se/organisation/research-centres/sten-k-johnson-centre-entrepreneurship/research-sten-k-johnson-centre-entrepreneurship/community-currencies

Más de 30.000 boniatos se intercambiaron en La Feria
https://www.economiasolidaria.org › Noticias June, 2015
Más de 30.000 boniatos se intercambiaron en La Feria ... En la III Feria de Economía Social y Solidaria, organizada por el Mercado Social de Madrid (MES) y la Red …

Nodo de Producción de Carabanchel – Nodo de producción
https://nodocarabanchel.net/

Sync! (°͜ʖ͡°) [smiley face] festival at ESLA Eko
“Política a 126 BPMs: Manifiesto”
https://sync.encamino.es/

Occupations & Properties, "More Police, Less Music? “I See That, and Raise You a Marble”, Sunday, April 23, 2023
https://occuprop.blogspot.com/2023/04/more-police-less-music-i-see-that-and.html

Kissi Money or ‘Money with a Soul’
https://liberiapastandpresent.org/kissi.htm

La Revue du M.A.U.S.S.
https://www.revuedumauss.com.fr/

Graeber’s essay "Give It Away"
https://www.revuedumauss.com.fr/Pages/ABOUT.html

Holly High & Joshua Reno, eds., As if already free : anthropology and activism after David Graeber, 2023

Roberto Iannucci, "La Atalaya, el pulmón social de Vallecas al que Almeida ha dado la puntilla en su guerra contra los centros autogestionados", Publico, 28 November 2024
https://www.publico.es/sociedad/atalaya-pulmon-social-vallecas-cargado-almeida-guerra-centros-autogestionados.html

Tuesday, November 5, 2024

The End of “La Canica” -- the "Anti-Bank" in Madrid


Photo of La Canica before eviction by Leah Pattem

Guest post by Leah Pattem of Madrid No Frills

Editor’s Introduction – An occupied bank on a main street of Madrid’s Lavapiés neighborhood was evicted after nearly a decade of operation. Following the 15M movement of 2011, sparked in large part by the collapse of banks in Spain, the many vacated premises of failed banks became prime targets for occupations. Everyone could see what that meant. The okupa La Canica launched with a utopian anti-capitalist mission – to replace the monetary system itself with a local community-based currency. The governing assembly quickly involved themselves in more practical issues, particularly housing, as Leah Pattem explains in this guest post.

Around fifty residents of Calle Tribulete 7 wait outside La Canica for the Sindicato de Inquilinas to arrive – they’re the one with the keys. Neighbours have come together to discuss their next strategic move in the fight against their eviction. Just a few months earlier, their homes had been purchased en masse by Elix Rental Housing, an American vulture fund which specialises in property speculation and who has requested them all to leave.
Residents aged between 93 and four years old begin entering. The more able unpack an eclectic collection of chairs, from comfortable office chairs and even an antique armchair to hard wooden benches and the iconic white plastic chairs. An uneven circle forms as close to the edges of the room as possible so that everyone can squeeze in without creating a second row. A small pop-up crèche forms by the stairs where children can play quietly as the adults talk. Stories about tall men in suits are shared, and how they entered the building without warning and knocked on residents’ doors. One neighbour has heard through the grapevine how to delay receiving an eviction notice – just don’t accept it from the postal worker. What I didn’t know at the time was that I was filming one of the last meetings in La Canica.
My first memory of the premises was as a Bankia bank. Many difficult conversations will have been had here as homeowners were told they were going to be evicted. But I also know there were moments of collective euphoria as housing activists succeeded in negotiations to stop evictions.
Following the bank’s closure, the commercial unit remained abandoned but still in the hands of the bank. After a few years, in 2016, a group of activists performed a profound act of subversion: they broke in, changed the locks, and La Canica was born. For the best part of eight years, the okupa was a community centre for Lavapiés residents and an important meeting space for the neighbourhood’s collectives.

Everyone Was Welcome (Almost)

There were rules: everyone was welcome – except for politicians, businessmen, security forces, priests and any other person who attempted to exercise authority. I fondly remember the multi-coloured wall of Post-it notes offering olive oil, therapy sessions, and language classes for children among other things. It was the structure of a counter-economy – get help putting up shelves for your neighbour in exchange for a home-cooked meal. The transaction doesn’t have to be equal in time or financial worth, only equal in personal value, and always accompanied by conversation.


The storefront today (photo by Leah Pattem)

La Canica also provided business support to Lavapiés’ migrant entrepreneurs. For a few years, up until the pandemic, Mauritanian farmer Usman sold his vegetables here one evening per week. He rents an allotment in Rivas, Madrid’s communist-run neighbourhood, where he grows a diverse range of organic fruits and vegetables. You would never know what you were going to get, including the occasional communist snail or spider. Usman would offer internships and the opportunity to learn how to farm. It was an expansion of La Canica’s counter-economy beyond Lavapiés.
But community spaces in the neighbourhood – both those registered with the town hall and those occupied – have been under increased attack in recent years. At times, it feels like the neighbourhood is swimming inside a wave sent to wipe us out. By closing social centres, removing municipal benches and cutting down trees to make squares so unbearably hot on summer nights, there are fewer opportunities for neighbours to talk and, therefore, fewer exchanges of empowering information happen, such as how to avoid being evicted.

Free Spaces Are Necessary

Free and organised spaces where it’s not required to buy a drink, and where there’s enough room to have structured meetings, are essential for local movements. Lavapiés has more collectives than any other Madrid neighbourhood – it’s infamous for organising, and the authorities know it. What many call gentrification is actually a deliberate act of social disruption and results in the dispersal of community structures. The authorities are trying to divide and conquer Lavapiés, and their closing of La Canica is part of the plan.
In the last La Canica meeting with residents of Tribulete 7, they planned a protest, a street performance, a group negotiation with the Elix company people, their press strategy, two documentaries about them – including mine – and another meeting. This is one of the most unionised buildings I’ve ever seen, and their strength and ability to organise is in huge part thanks to decades of resistance culture in Lavapiés and, of course, free spaces such as La Canica.
In June this year, I woke up to the news that La Canica had been evicted. The building is now undergoing works and, according to construction workers, it will be four self-contained tourist apartments, all of which will be unlicensed because the council is no longer granting new licences. The former okupa no longer belongs to us in any form – not even as a McDonald’s that at least lets us enter.
Lavapiés may have lost yet another okupa to unregulated tourism, but the hunt for the next empty building is already underway. There are dozens in the neighbourhood alone gathering dust and value. Once inside and locks changed, the community will simply pick up where they left off.

This post was supported by the Solo Foundation, NYC, Martin Wong Fund

NEXT -- La Canica Again -- A Game of Marbles

LINKS



Madrid No Frills
https://madridnofrills.com/


Sindicato de Inquilinas https://www.instagram.com/inquilinato_madrid/
#inquilinato_madrid

"52 flats at Tribulete 7 are facing mass eviction but tenants are fighting back"
https://madridnofrills.com/52-flats-at-tribulete-7-are-facing-mass-eviction-but-tenants-are-fighting-ba ck/

"From Mauritania to Lavapiés: meet Usman, the alternative vegetable farmer"
https://madridnofrills.com/huerto-de-usman/

"No a la Tala!’: As Madrid’s mass tree felling begins, residents are fighting back"
https://madridnofrills.com/no-a-la-tala-as-madrids-mass-tree-felling-begins-residents-are-fighting-back/

"Madrid’s climate inequality: temperature readings reveal 15-degree difference between rich and poor barrios"
https://madridnofrills.com/termometrada/

"‘Soy Tribulete 7’: Brand-new documentary in-the-making launches crowdfunding campaign"
https://madridnofrills.com/soy-tribulete-7-brand-new-documentary-in-the-making-about-lavapies-fight-back/

Wednesday, July 17, 2024

In Málaga: The Case of the Casa Invisible, Post #2


Image from video by Castro and Ólafsson

In this post I dig down on the Casa Invisible itself, the beleaguered social center in Malaga's historic center. Long an oasis for creatives and thinking people, and a center for activist organizing and strategy, "el Invi" has been under siege by the conservative government for years. Artists and institutions have pitched in to help in the resistance. Now a new space, Casa Azul and the Suburbia bookstore and publishing center, has joined in as another node of creative resistance to the banal touristification of Malaga.

In my last blog post on the trip to Málaga, I described the decades-long manic touristic development in that city and region. The heat and noise of all that was explicated in the 2024 INURA meeting I attended.
The most hyperbolic example I didn’t even mention, a gigantic luxury hotel proposed for the harbor, el gran pepino (cucumber), as prominent as the Colossus of Rhodes. The plan is the cherry on top of a fine case of capitalist rational madness. (Although unacknowledged, the money is said to come from oil sheiks.)
I didn’t come to the conference for the comic tragedy of Spanish Babbitry. I came to learn about the Casa Invisible, an inspirational Spanish social center of creative thinking people where much of the conference was held.
On the last day of the INURA meeting, our principal host, Kike España, led a tour of the building.


Kike in the nightclub of the Casa Invisible

A Palace in Commons

This 1876 Neomudéjar (Moorish style) palace has had many lives; it was a nightclub, twice a school and much more besides. It’s spectacular, but shabby. Renovation costs are estimated at a million euros. Compared to my last visit 10 years ago, La Casa today seemed disused. Signs of former creative glory abounded – a leftover theater prop, a complex mechanical face-wall; murals, and remains of art exhibitions; a compact bar and disco space which no longer operates. The free store, which was not on the tour, is still meticulously kept. A woman tidying up smiled as I peeked in.
The Casa Invisible was occupied “with a key” in 2007, since some apartments were rented within the city-owned building. The first activities there took place during a week-long festival of cinema and “free culture”. The house was named after Los Invisibles a novel by the Italian author Nanni Balestrini.
In 2011-12 the collective had an agrement with the city, but they never arrived at the most important part – the cession of the building. Now they have a “cession en precario”, a de facto tolerance of their presence.

Wall painting by Os Gemeos

Conditions are difficult at La Casa (also called “el Invi”). They have no running water, and must truck in giant cubes. The city constantly interferes with the cooperatives working in the space. “The secret police are always around,” and they have piles of denuncias (complaints) against them.

Museums Stand By

In their struggle to remain in their broken-down palace La Casa has had support from the Reina Sofia museum in Madrid (MNCARS), and the Arteleku center in San Sebastián, and the Pompidou in Paris. They host gatherings of academics like INURA, and the 2022 "Multiplicity", a congress on the "future of cultural policy in Europe" with drop-in stars like Hito Steyerl and ruangrupa.
Other support from the European institutional sector comes in the form of funded projects. Under the rubric of Arte Útil, the artist team of Libia Castro and Ólafur Ólafsson were commissioned to produce “The Rehabilitation of La Casa Invisible—Chapter I”. As explained in an e-flux broadside, the artists intend to “rethink the architectural project through art, weaving new networks of collaboration and advocating to restart the dialogue with the City Council”. They began with a video work. (See image above.)
The rehabilitation project the artist duo support was to be executed in phases so that activity in La Casa does not have to cease. Despite initial approval by a city agency, politicos with Ciudadanos put the brakes on the project. Although that political party was vaporized in the last election, the cession of La Casa still does not advance.


An Arte Útil

The conception of an Arte Útil (roughly "useful art") which brands Castro and Ólafsson’s project was developed by Cuban artist Tania Bruguera and colleagues, working at the Queens Museum, NYC, Van Abbemuseum, Eindhoven, and in Havana. A stroll through their online archive of hundreds of projects that conform to the rubric is a virtual history of social practice art in the 21st century.
The ideology behind their work is clear in the e-flux broadside. It is based in ideas of the "right to the city", a concept enunciated by Henri Lefebvre in 1968, elaborated by many other urban theorists, including David Harvey, and adopted as a banner by activists.

Suburbia and the Casa Azul

The INURA meeting was also organized out of the Casa Azul, a newer site in the Lagunillas barrio of Malaga. Lagunillas is undergoing a process of radical reconstruction, with old low houses (casas bajas) being evicted, closed up, and rebuilt. Gerald Raunig, the Austrian theorist and activist, snagged a building early on, and his gang has built up a bookstore called Suburbia, a print shop and a meeting space there.





Raunig has been at the center of online theory networking for decades, most prominently European Institute for Progressive Cultural Policies (EIPCP) and its ramified platforms. They’ve been “a kind of networking of European cultural and artistic institutions with the aim of collaboratively carrying out artistic projects and organizing discursive events that accompany them”, part of the “transnational struggle against neoliberal hegemony” which “clearly refers to the specific activism of the ‘anti-globalization’ movement”. (Buden, 2007)
La Casa Azul and Suburbia together comprise a kind of a theoretical redoubt, an egghead montagnard encampment, with Raunig its own Subcomandante, a complement and a fallback in case the Casa Invisible should fall.

Depression Surfaces

The INURA meet was exhausting for me. After our last dinner in the lovely patio at La Casa, I felt a sense of sadness… and a definite tinge of hangover from the night before. The Casa Azul seems cool, and offers an encouraging way forward for alternative culture in Malaga. But a sense of doom was hanging over the Casa Invisible that evening.
Kike España was downbeat. All ways forward are blocked by the city which has cut off the water, forbids income-generating activity, and sends in undercover police in a constant campaign of destabilization. The place is being suffocated.
The focus of the Malaga activists that night was on the upcoming Spain-wide march for housing on 29 June. The assembly of the Casa Invisible, Kike said, is some 90 participants. “Years ago all of us were living in the center of Malaga. Now none of us are.” Their neighborhood became gentrified out from under them, apartments turned into tourist lodging.


The sign "Entorno Thyssen" brands the district around the Casa Invisible as a dependent territory of the mediocre museum

Throughout the INURA, the focus was on the bigger picture, madcap gentrification in Malaga, and the city’s unaffordability for its residents. As it turned out, the 29J mobilization put thousands into the streets all over the country.

Reactionary Fiestas

Our dinner the evening before, in a seaside restaurant with lavish table service, happened alongside another event at the same place celebrating the mayor who has refused the cession to La Casa. That was weird, passing all the suits and ties on the way to our tables.
“Go say hi to him,” I suggested to Kike. He gave me a wan look. The dinner moved forward in a tone of blunted sarcasm.
On the final evening we attended a screening of short films, old and new about the city. As we lined up to enter the theater, a rally for the extreme right Vox party was taking place nearby, in front of the Roman theater. It was a real Weimar scene, with lefties lining up for a film and excited reactionary politicians fulminating to a large crowd.


Theater-goers in line. Beyond them is the green awning of the Vox rightwing party, and their rally in full swing.

This is the rhythm of politics: Soon after, the extreme right took many seats in the EU parliament. The sense of depression on the left turned to fear. Then a united front pushed back the neo-fascist party in France, and cheer returned.

What Has Been, What Could Be

You can see La Casa Invisible in its early glory is shown in the five minute video "LIPDUB con Verdiales en la Casa Invisible" made in 2011. A complex “poor” production, it's joyful and very Andalusian. It’s one of the best social center videos I've ever seen. I played it in presentations many times, as it so clearly expresses the practical utopia social centers like La Casa aspire to create.
https://www.youtube.com/watch?v=BAMVnq6vCpI
The Casa is an active culture wtihin the city – rough, at times secreting toxins, in contrast to the smooth spaces of administrated culture. It’s the kind of place where things happen, not where objects are kept to be admired. The institutional support “el Invi” has received from major museums and local academies is a clear recognition of the vital importance of live culture.
As it has ever been, it’s unclear that the weight of a collective of academics and artists, no matter their support, can counterblance the big capital which Malaga politicians serve.
Picasso is dead. The “invisible creators” crying out for a space ito thrive amidst the touristic tombscape are very much alive.

LINKS

Paula Corroto, “Otra cultura es posible en Málaga: historia de una casa (invisible) al borde del desalojo”, 18 December 2021
https://www.elconfidencial.com/cultura/2021-12-18/casa-invisible-desalojo-malaga_3341786/

Gerald Raunig, “Casa Invisible is here to stay! Against the eviction of the Invisible, against Mall-aga, against the compliant city”; July 2018
https://transversal.at/blog/Invisible-is-here-to-stay

"Multiplicity", a congress on the "future of cultural policy in Europe" at the Casa Invisible
[the multiplicity site at lainvisible.com is flagged by Google as malware. It isn't. Don't know why the monopoly thinks that. You can access it via Duck Duck Go, and likely other browsers. It has the more complete register of the conference.
https://transversal.at/blog/multiplicity-es

Libia Castro & Ólafur Ólafsson and La Casa Invisible
The Rehabilitation of La Casa Invisible—Chapter I; December 16, 2023–January 26, 2024
https://www.e-flux.com/announcements/583257/libia-castro-lafur-lafsson-and-la-casa-invisiblethe-rehabilitation-of-la-casa-invisible-chapter-i/

"About" Arte Útil
Arte Útil roughly translates into English as 'useful art' but it goes further suggesting art as a tool or device. Arte Útil draws on artistic thinking to imagine, create and implement tactics that change how we act in society.
https://www.arte-util.org/about/colophon/
Hundreds of projects, a virtual history of social practice art, are archived with links at
https://www.arte-util.org/projects/

Transversal website
https://transversal.at/

Boris Buden, “¿Qué es el eipcp? Un intento de interpretación”, 2007
https://transversal.at/transversal/0407/buden/es