There is a dearth of critique in the Bay Area, and what critical dialogue makes it to print (digitally or otherwise) is primarily positive, with negative or neutral opinions expressed in private or via not covering/not reviewing shows. I hear this complaint often, and considered several ideas to somewhat address this – making a magazine, starting a blog or website, etc. This coincided with noticing that Facebook is underutilized for art projects beyond show announcements and networking. On a particularly fruitful day of viewing shows in the city, I found a cafe and started the Curiously Direct Facebook page. The goal is to review every show I attend, to try to say something concrete about why I feel this or that way about a show, and to fit that into the 420 character limit of a Facebook wall post. When I go to shows, I take small notes, then the next chance I get I open any info I can find about a given show (for accuracy, though I miss things that users are quick to point out thankfully) and write my review. The format allows for immediacy, and the potential for dialogue and difference of opinion.
The following excerpt was taken from Curiously Direct’s Facebook page on Tuesday, August 23rd, 2011.
Over the next year we will pursue parallel narratives under the framework Unstable States, New Constitutions in our first long term feature. Through this itinerary we aim to study our increasingly global instability as a method of learning and unlearning the present and gather the constellations and speculative forms rising from this constant state of crisis. We ask: Can this unprecedented moment of dissolution also be an opportunity for rearticulation and rearrangement?
For the month of September, guest editor Samuel Hertz has assembled a group of artists/theorists whose work focuses of re-imagining ideas and forms of perception. He asks: Is there a sensible way to speak about perception as a political act? Are there methods of performance that identify and enact new political and global sensitivities? What does a focus on perceptive practices add to conversations about re-thinking institutions, senses, sexualities, ecologies, and aesthetics?
Is the act of painting a polite refusal against the instrumentalization of labor and knowledge? https://t.co/q2FasdaOBf