“Equal rights for all” is only applicable in a very limited sense. “Performance” is evaluated very differently and powerful interests define the value of an individual performance. Not every kind of work is even considered performance. Many types of work are respected, others are invisible and should remain so. Little respect doesnít necessarily mean a low income is involved in many cases. The assessment of what counts as work and doesnít count as work is in constant flux.

Work serves to satisfy our needs, it helps achieve social status and largely defines an individualís participation in social processes. The public aspect of work is a fundamental aspect, but non-work isnít necessarily a private pursuit, although it often escapes perception. This probably makes it the object of permanent social observation† (statistics, forecasts, studies).

To work or not to work
To work or not to work isnít a matter of definitions for many, it is an existential decision or given factor.
To be able to work, to want to work, to work because you should, or to have to work; to not be able to work, to not want to work, or not have to work, and: to not be allowed to work. Work is the organizational principle that ñ still ñ keeps society together. And this also makes it a differentiating factor, a distinctive feature, an element of pressure, of blackmail.

Working also goes beyond mere sustenance, it is charged with an almost religious meaning. Gainful work often interferes with creative activity. A modern personís meaning of life is often his work to a certain extent. To not work is therefore seen as an outrage against the meaning of life. This increases the burden on those affected. On the other hand socially important and desirable work is left undone, although we donít have enough work officially.

Many therefore see a reorganization of the welfare state as a way of handling the current crisis in the working world productively. A basic income would either require or encourage a new understanding of work.

Freelance and artistic work
Self-determination and flexibility on one hand, social contempt as well as self-exploitation on the other normally define freelance and artistic work. In business, parts of such work, the flexibility and independence combined with creativity are often stylized into a general image of exemplary work behavior. A new work ethos makes the loss of all security seem like the surmounting of alienation.
More and more artists want to take a stand against that and fulfill their role in society in a different way, instead of simply being examples of societyís complete de-solidarizarition.

Public discourse on work and the development of new models is the prerequisite for any possible change. Art is a possible medium for this task.
To work on the public examination of “to work or not to work” is the goal of SOHO 2009.

SOHO IN OTTAKRING 2009

SOHO IN OTTAKRING understands art as a means of examining everydav life, the involvement in public matters and is therefore a political instrument. Things were never about “pure” aesthetics here. They are about life forms, changes, criticism: about working on an aesthetic of involvement. So it is ultimately also about a different perception of the possibilities and significance of art.

Guests from the US: Printing as a form of public work(ing)
SOHO IN OTTAKRING 2009 invited to artists from the USA, Amos Paul Kennedy Jr. and Dan S. Wang, were invited take a productive sojourn in Vienna. Art is a means and reason for intensive involvement in social processes and discourses fo both artists. Craftsmanship as a “work component” that comes with artist is important to both as well.
Amos Paul Kennedy, Jr. from Gordo, Alabama will run a print shop in Ottakring during the festival.
Dan S. Wang, from Madison, Wisconsin/Chicago, Illinois, who combines his artistic work with political work will establish contact with political groups and also work the printing press during his stay.