The promise that the CV holds is one of verifiable self-narration; a token that will be received impartially, objectively, and provides access to social mobility on the basis of personal, formal merit, instead of on family background, or social status. As such, the CV has been one of the main tools upholding the myth of ‘meritocracy’ - the idea that efforts will be received on good merit, instead of the personal conditions of the worker. Art Goss has a suspicion that this myth has mainly helped to maintain women’s position on the labour market in the twenty first century. We find ourselves at a moment where women are paid less for the same labour; where domestic labour, performed mainly by women, is not remunerated; and where women do not apply for the jobs they are qualified for as men do. The glass ceiling, the glass cliff, and the glass escalator are in dire need of having women who throw rocks work inside their structures.
Art Goss is soliciting Curriculum Vetoes from a group of invited contributors, who are asked to work on specific themes, such as a CV of refusals, a CV of crediting collaborations, a CV on activist work, a CV on CV-gaps, a CV on unpaid and domestic labour, and other such woes and vetoes.
During the residency at workspacebrussels, Art Goss will be writing a performance that further develops the theatrics of the CV. In particular, we will be researching the history of worker’s choirs; the performativity of bluffing; and the religious connotations of the CV as confessional literature.