ALL THAT IS COMMON ISSUE ONE: HANNAH FORBES BLACK ON AUSTERITY AND THE BAROQUE / ADAM KAASA ON THE IMPORTANCE OF BEING SEEN / RICHARD MARTIN AT THE LIBAN QUARRY IN POLAND // ART BY ANDREW ADSHEAD / EMAILS BY JESSE DARLING / POETRY BY MATTHEW CLEMENTS / FICTION BY HONOR GAVIN / INTERIORS BY WILL JENNINGS / FASHION AND PHOTOGRAPHY BY JON REVELL & CARLO ZAMBON
AND IN LOCAL SHOPS SOON
All That Is Common takes its name from a case study of the Daumonbois watchcase factory. In the years following the Second World War, Daumonbois established itself as a communitarian enclave in a French border town near Switzerland. The guiding principle of the factory was that the ‘distinction between employer and employee would be abolished.’ For this purpose, the original compagnons, as they were called – a husband and wife – sought out a group of workers who were as yet untrained in industrial manufacturing. As the story goes, this included a barber, a sausage maker and a waitress. In their manifesto, ‘All that is Common’, the allusive barber, sausage maker and waitress inscribed the dictum that they should sing together. Increased labour productivity would translate into more time outside the factory (rather than increased profits or wages), the relationship between social and professional aims would be scrutinised at general assembly meetings, and resources would be pooled for funding scholarly and artistic pursuits. They set up production in a barn with only two skilled workers. Suppliers refused to sell them anything on credit. But still, the company began selling after two months. The company eventually included 90 workers and their kin. But it is true that, at least in the proverbial sense, no one knows what became of the Daumonbois labourers. Like the dinosaurs, they either disappeared entirely at the hand of a violent cosmic cause or took to living amongst us in a scantly recognisable form.
All That Is Common represents original work by emerging and established artists and writers, supporting imaginative directions for writing, image-making and the print medium. ATIC is published in London in partnership with the collective When We Build Again.