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[new] forms of critique (Avg. Score: none / Raters: 0) (#12)
by StellaRollig on Fri Oct 24th, 2003 at 03:53:28 PM EURODISCORDIA TIME
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Although there is reasonable suspicion against curated institutional critique, it seems that everybody who has commented so far is concerned with testing or transgressing the borders of the institutionalised/institutionalising system in one or the other way.
I guess organising a performance by subRosa at a "US southern-midwest small university gallery" (as Ryan characterises the place) was not an all easy task while the directors of the Frieze Art Fair have obviously welcomed Pawel Althamer's intervention (to get into the fair without paying) - while at the same time making sure that security would prohibit any serious attempt to do so.
The point I wanna make connects to Paulas comment about critical art practice and critical curating operating on the same terrain, often with similar interests as well as concepts and means.
I would not want to juxtapose art practice and curatorial practice in a way insinuating that artists can be truely critical while curators are more likely to be corrupted by the context they work in. (Some of the most interesting projects blurr the distinctions between artistic and curatorial work anyway.) You can either challenge a consensus, a status quo, or just produce a hollow gesture.
To find out criteria for myself, I have learned enormously from other cultural producers. And that's what I like so much about the Curating Degree Zero Archive: that it provides all these projects to study. (I may say this, because, Trebor - thank you for your support, but it is Dorothee's and Barnaby's project and not mine. I am only the hosting curator at O.K Center). A network oriented towards pragmatic problem solving would be also great, but this would work better on a communication platform like this one than in the exhibition/archive format that Dorothee and Barnaby have adopted.
Best,
Stella
stella.rollig@chello.at

Critical Curating | 12 comments

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