“In an environment of decreasing confidence in art institutions, both in the East and the West, institutional critique sometimes takes a proactive or projective form, that of self-organization. Of course, self-organization is older than institutions themselves: substantially bottom-up, it constitutes the gathering of a certain number of individuals around a set of common interests and goals that they decided to act upon. Thus, it makes an absence in the art establishment explicit: an absence of possibilities, discourses, practices, forms, values.
More often than not, the how is as important as the what, if not more so: self-organized initiatives typically operate in flat hierarchies and experiment with commonist, non-extractionist models, challenging traditional capitalist organizational and economic structures. To self-organize is to create a common, open space of expression, exchange and production that is self-regulated and self-governed. […]
It is also necessary to speak about the dangerous tenuity of the line between the freedom and self-empowerment that participation in such structures promises, on the one hand, and self-exploitation and precarity that serving them demands, on the other.” (Hajnalka Somogyi)