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Continue reflections on negation and a practice and thinking without form as part of an imageless art practice.
“Is it possible for peoples and cultures to intersect to reimagine art?”
My research into Post Autonomy plots the effects of Neo Liberalism on art and knowledge production, the rapid privatisation of the art industry, return to Modernism and the commodity form, the role of Neo liberal art and research.
Today we appear to be witnessing the end point of Neo Liberalism complete erosion of the capacity to conceptualise art, art is an unknown, so in a sense the forces of Neo Liberalism has erased whatever art is.
Can we translate this sequence of negations another way?
It is useful, for strategic reasons to force the issue of Neo Liberalism and the rise of the right into the open, to show in this difficult historical time, that the destruction of art and thinking by Neo Liberalism has created a vacuum, that nevertheless removes the blockage for arts further development, for that reason we can say we have entered a unique historical moment, a clearing, which makes possible the potentiality for peoples and cultures to converge to reimagine art again.
The term participating cultures describes this process.
This new historical moment offers a solution to an aporia, a stasis, in rethinking art differently, as opposed to its renewal. However we shouldn’t be deluded into thinking that we have solved the fundamental dilemma we are in, the incapacity to break out of the existing stasis, this new historical moment only reveals a potential which has to be grasped.
The contradiction of trying to resolve problems and make observations of the system from inside the system, due to the systems immutability, through its fixed centres of cultural power, while inside colonialism and its new variant Neo Liberalism, art isn’t possible, instead we are all colonialists. Whatever art is is only possible once this link is broken, once the existing centres of power are reconfigured, and this is the point of this project to push beyond this condition, following the demarcation Badiou outlines of an art inside the Empire, comprising nationalist and state art, and one that breaks from it.
Activity: 3 X 40 minute sessions comprising drawing and discussions
How do we start a discussion to lay the foundations to open up the new historical moment to reimagine art?
“What is the position where it makes sense to pose these questions, that breaks down rather than consolidate existing powers?”
Assembling attributes of this Historical moment
- Is this a model which can be adopted by multiple cultures and peoples?
- Develop a language specific to inhabiting this moment and plotting the exploration of this historical moment.
- Use of this language
Bring together contributors use of this language to reimagine art.
How to test out and challenge each other’s body of knowledge, and the conceptual, territorial position of power that we protect and that shape us?
Analysis of stasis
David Goldenberg, (Hitchin, Hertfordshire, UK, 1956) is an important English conceptual artist.
For years, his research has been concentrated on the Post Autonomy concept, which he has developed in a number of shows held at important international institutions - Art bank, Food bank, Data bank. Distributing Obsolescence, curated by Camilla Boemio, Villa Caprile, Presaro, Italy (2016). “The loss of arts image”, Centre for contemporary art, Vargi IV, Gijlan, Kosovo 2014. “In search of Post Autonomy” , Palazzo Isimbardi, Milan, Italy 2012, The Scenarios of Post Autonomy, Glenda Cinquegrana: the Studio, Milan, Italy (2012), The Space of Post Autonomy 2, Arts Depot, Vienna, Austria (2011), Plausible Artworlds, Basekamp, Philadelphia, USA (2010), Mobile Documenta, Fordham Gallery, London, UK (2009), The Time of Post Autonomy is Now, Your space, Van Abbemuseum, Eindhoven, NL (2009), The Space of Post Autonomy 1, Local Operations, Serpentine Gallery, London, UK (2007).
Goldenberg has participated in a number of Group shows of international stature, Odessa Biennial, Ukraine, 2017; Bodrum Biennial, Turkey (2015), Mobile Biennial, Romania (2014), The Caspian Biennial, Baku, Azerbaijan, (2013), Venice Biennial, collateral exhibition, Personal Structures, Palazzio Bembo, Venice, Italy (2013), Berlin Biennial online project (2012), the 1st Land Art Biennial of Mongolia (2010), the 10th Istanbul International Biennial, Turkey (2007), and the 6th International Biennial of Sharjah, UAE (2003).
To these must be added exhibitions at international public institutions, such as Decreation, Rochester arts festival, Rochester, UK; Here, there and everywhere: Eurasian Cities. Chapter 1. Curator Jiho Lee, project director Kyong Park. Asia Culture Center, Gwangju, South Korea 2015/16; The Spatial extension of Art, CNM, National Gallery of Macedonia, Skopje, Macedonia 2015; Dispositions in Time and space, The National Gallery of Contemporary art, Bucharest, Romania, 2014/15, Locally Localised Gravity, curated by Basekamp, ICA, Philadelphia, USA , 2007, Jump into the Cold Water, Shedhalle, Zurich, Switzerland (2006), Copyfight, Copy-art.net, Centre d’Art Santa Monica, Barcelona, Spain (2006), Soft logics, Kuenstlehaus, Stuttgart, Germany (2004), Dec, “Evolution Cell”, Organised by Finger, NGBK (Neue gesellschaft fur Bildende kunst e.V.), Berlin, Germany (2002), Century City, Tate Modern, London, UK (2001), Infection Manifesto, Bonnerkunstverein, Germany (2000); Out of Space, Kolnischerkunstverein, Germany (2000), Host, Tramway, Glasgow, Scotland (1998)