As a team of disparate artistic labourers, what does our labour look like? How can you contribute to it as a disparate viewer? How can we reimagine ‘collaboration’ and ‘criticality’ as contemporary cultural practitioners and as viewers? How can we make visible the conditions of contemporary art making?
These are the key curatorial intentions, social realities and artistic processes we aim to engage with and make visible. We invite you to continue the conversation.
The above Google document has been used as a site of informal documentation and connection between individuals- for this to continue, we ask you the viewer to contribute and respond in whatever form you like.
What intuitional approaches are in place that help make sense of artworks?
Public, formal and social? What are the boundaries there?
Who has the power to make artworks visible and the labour behind them visible?
High art space and high art press
Human capital- self driven, self-discipline, autonomous, initiative
A place for people to engage differently
Shift from the model of work-education-presentation to activity-information-debate
Exchanges that produce content
Traditional spaces into experimental models
Space and form
Personifying objects as the representations of their makers
Art works as experienced by a certain gauge or lens
White space and how it is controlled
Interrogation of the art historians voice
A more performative engagement less remote from the material they are looking at.
The body of writing, of white space, of the image create virtual encounters for the reader/ viewer
Not just information about an artwork but also the decisions, distractions and detours
Collective rather than individual
Critical production and critical reception
Regulation and representation
Swapping aesthetic and critical
Mass communication outside of the gallery space
Tracking relationships, conversations, dialogues and collaborations
Producing, understanding and historicising
Stating rather than creating experience