Considering what power does to ‘reality’, this three-part text aims to consider instituent practices by artists and organisations as they seek not to just represent the real, but actively to (re)make it.
New World Embassy: Rojava
The Work of the Institution in an Age of Professionalization
Slow Criticism: Art in the Age of Post-Judgement
Movement Building for Beginners
Belaboring the Fringe: in lieu of an Artist Statement
Sustainability is not Solidarity: Superscript & the Economies of Art Writing
Muse as Critic, Returning the Gaze from the Pedestal
No one cares about art criticism: Advocating for an embodiment of the avant garde as an alternative to capitalism
Essays
Articles
Kayla Anderson interrogates artist residencies that pose as experimental-community-think-tanks and how artists may collectively shape a new ethics towards our respective communities.
Hosting a collection of commissioned artworks on a wireless router, the Palais des Beaux Arts Wien surrounds an Art Nouveau building built in 1908 of the same name with a cloud of data.
In a place like Bucharest that lacks institutional infrastructure, questions of ‘instituent practices’ and care have inherently been located at the core of their existing and functioning systems.
Sumugan Sivanesan writes on Jonas Staal’s recent Phd defense and his use of organizational forms to generate controversy, critique and alternative political imaginaries.
The recent exhibition “Parapolitics: Cultural Freedom and the Cold War” at HKW interrogated the intertwined re-canonization of modernism and the international propagation of a US-backed, anti-communist idea of “cultural freedom” put forth by the many-armed Congress for Cultural Freedom (CCF) from 1950–1967.
Dallas-based ‘social sculpture’ and experimental art space Ash Studios went to trial opposing occupancy restrictions for DIY spaces facing increasing closures in the city. Ashley Jones recaps the trial and the implications of its outcome.
Experimental art space Ash Studios took the city of Dallas to court yesterday contending that it’s role as a ‘social sculpture’ shouldn’t require the same occupancy restrictions as commercial operations. As we follow the trial through a series of essays and regularly updated reportage, we wonder: What could this case mean for other DIY spaces under siege across the United States post-Ghost Ship?