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?
Gotong Royong’s focus on ‘togetherness’ may harken current moments of collective resistance, but it can also be read as a reaction to earlier Polish leftist avant-garde artists…
Museums were trapped. Artists were trapped. Nonprofits were trapped. Social entrepreneurs were trapped. This feeling was one of the major sparks for the Occupy Movement…
Provoked by the discontent over the current state of collections and collecting practices, Collection Collective proposes an alternative model in which the artists and cultural workers themselves could safeguard, determine and benefit from a collectively owned and managed art collection.
Casco Director Binna Choi and Temporary editor James McAnally consider what an art institution for the commons consists of, new habits of working together within and beyond institutions, and how Casco, among an expanding network of commoners, could contribute to collective actions in order to radically change our way of working and living.
There is no lack of art which challenges existing conditions and makes propositions for new ways of living and working together – yet all too often these practices are strictly supported and celebrated in the realm of programming, while our institutions neglect to learn from the radical practices that they propose.