Has economics become the dominant mode of artistic action of our time? From Sotheby’s and e-flux, to W.A.G.E. and Free Cooper Union, the market, protest movements, and the model of the artist-as-entrepreneur threatens to overwhelm art’s social and aesthetic aims.
Over the next several months we are engaging the legacy of institutional critique, ongoing institutional and organizational experiments, and Gerald Raunig’s notion of ‘instituent practices’ understood as artistic and curatorial practices that “invent new forms of instituting.” Question include: How do artists and independent projects challenge, comply with, and sometimes imitate traditional institutional forms? Further, how should (self-initiated) organizations consider their own operational mechanisms in order to responsibly address the social, political and cultural fabric in which they operate?