[spectre] (fwd) BIENNALEONLINE 2013, online biennial exhibition of contemporary art

marc garrett marc.garrett at furtherfield.org
Thu Mar 21 12:09:13 CET 2013 

Hi John & all,

Your concerns are well founded. We need to break up these large 
institutions into smaller 'humane' groups, just like we need to break 
down and 'own' the banks.

These structures dictate absolutist conditions where status, worth and 
values are based on and reliant on market driven ideologies, and within 
these frameworks whatever art is shown usually becomes part of those 
value systems no matter how critical the artists themselves aim to be. 
For me, it will always be about emancipation -- this is where my heart lies.

I have been writing a lot lately -- one of the papers which I have just 
finished and will be published is "Disrupting The Gaze: Art Intervention 
and the Tate Gallery." It deals with these kind of conditions head on.

Anyway, must go -- trying to keep our own community and group 
'Furtherfield' going ;-)

wishing you well.

Marc

Here's an introduction to it,

Disrupting the Gaze is written in three parts. The first chapter Art 
Intervention and the Tate Gallery investigates contemporary art 
intervention at the Tate Gallery. It includes artists, art groups and 
activists: Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko 
Thiel, Mel Evans, Mark McGowan, Mark Wallinger, Damien Hirst and 
Britart. The second chapter The Power and the Gaze studies the history 
of the Tate Gallery, its connection with the Millbank Penetentiary and 
the “Panopticon", Jeremy Bentham’s design and concept for the prison. 
The third chapter explores different concepts of “the gaze” and includes 
feminist, societal and media art contexts. Together they form part of a 
larger study that looks at dissent in the context of contemporary art, 
technology and social change.

Each artist(s) featured in this chapter delivers his or her own 
particular unofficial and official mode of art intervention at the Tate 
Gallery. Whether these interventions concern economic, social or 
political conditions, they all connect in different ways. Less in their 
style or genre than as contemporary artistic practitioners exploring 
their own states of agency in a world where our public interfaces are as 
much a necessary place of creative engagement, as is the already 
accepted physical ‘inner’ sanctum of the gallery space. These artists’ 
and their artworks have become as equally significant (perhaps even 
more) than, the mainstream art establishment’s franchised celebrities.

In his vindication of those artists hidden away in places where the art 
establishment’s light rarely shines, Gregory Sholette observes that 
“when, the excluded are made visible, when they demand visibility, it is 
always ultimately a matter of politics and rethinking history.” 
(Sholette 2011) This draws upon a contemporary art culture and its 
audiences beyond the mainstream. These artistic discoveries and 
discourse arise from an independent art culture that is rarely reflected 
back to us. Instead, we receive more of the same, marketed franchises. 
The central, mainstream version of contemporary art has found its allies 
within a global and corporate culture, where business dictates art 
value. Meanwhile, a spirit of artistic emancipation thrives. It is self 
styled, self governed and liberated from the restrictive norms that 
dominate our mediated gaze.

We live in a world riddled with contradictions and confusing signals. 
Our histories are assessed and reshuffled according to the interests of 
the powerful, and re-introduced as fact. We might fail to notice that 
there are so many bits missing. We accept what is given through sound 
bite forms of mediation and build our cultural foundations on these 
acquired assumptions and imagined guidelines. This paper studies how 
contemporary artists are challenging these defaults through their 
connected enactments and critical inquiries into the existing 
conditions. It highlights a continual dialogue involving a historical 
struggle between what is held up as legitimate art and knowledge, and 
what is excluded. It looks at a complexity, embedded in the class 
divisions of our culture. And it draws upon struggles going as far back 
as the enlightenment, the Industrial Revolution, colonialism and slavery 
to present day concerns with the dominance of neoliberalism. The Tate 
Gallery is chosen as a focus for these various historical, contemporary, 
political and societal conflicts and its ability to hold our gaze as an 
icon of culture, since it was founded in 1897.


1. Gregory Sholette. Dark Matter: Art and Politics in the Age of 
Enterprise Culture. Pluto Press (January 4, 2011)



> I don't normally comment on these things but felt slightly nauseous reading the self aggrandising blurb on the web site - reiterating the hierarchy of curator /critic over artist. - how could the artist possibly succeed with out them!
>
>   Maybe I'm just being over sensitive.?
> John
> Sent from my iPhonium
>
> On 20 Mar 2013, at 17:51, marc garrett<marc.garrett at furtherfield.org>  wrote:
>
>> sure is...
>>
>> m
>>> It's like the history of art...
>>>
>>>
>>> /:b
>>>
>>>
>>> On Wed, 20 Mar 2013, Simon Biggs wrote:
>>>
>>>> It's like the history of video art. You wait for one or
>>>> two generations of innovators to create the area of
>>>> practice. Then you ignore it long enough they are all
>>>> dead. Next step is to appropriate the domain with a new
>>>> generation of artists who are largely ignorant of the
>>>> previous activity and are more open to the
>>>> commercialisation of their work.
>>>>
>>>> best
>>>>
>>>> Simon
>>>>
>>>>
>>>> On 20 Mar 2013, at 12:02,astronaut at s373.net  wrote:
>>>>
>>>>> i wonder if they have been excluding for so long, igf
>>>>> they will have access to it
>>>>>
>>>>>
>>>>> On 19 Mar 2013, at 9:03 PM, helen varley jamieson wrote:
>>>>>
>>>>>> it's like the tate claiming last year that their live
>>>>>> performance series was the first online performance
>>>>>> series ... :D
>>>>>>
>>>>>> On 19/03/13 4:54 PM, Simon Biggs wrote:
>>>>>>> Oh dear
>>>>>>>
>>>>>>> So we start to see the gate-keepers of the mainstream
>>>>>>> art-world begin to invade online art-space. I wonder
>>>>>>> what percentage of the artists they select will
>>>>>>> actually be those who work with online media as core
>>>>>>> to their practice.
>>>>>>>
>>>>>>> best
>>>>>>>
>>>>>>> Simon
>>>>>>>
>>>>>>>
>>>>>>> On 19 Mar 2013, at 16:02, Andreas Broeckmann wrote:
>>>>>>>
>>>>>>>> (fwd)
>>>>>>>>
>>>>>>>>
>>>>>>>> BIENNALEONLINE 2013
>>> =============
>>>
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>> -- 
>> --->
>>
>> A living - breathing - thriving networked neighbourhood -
>> proud of free culture - claiming it with others ;)
>>
>> Other reviews,articles,interviews
>> http://www.furtherfield.org/reviews.php
>>
>> Furtherfield – online arts community, platforms for creating, viewing,
>> discussing and learning about experimental practices at the
>> intersections of art, technology and social change.
>> http://www.furtherfield.org
>>
>> Furtherfield Gallery – Finsbury Park (London).
>> http://www.furtherfield.org/gallery
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
>> ______________________________________________
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>> Info, archive and help:
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-- 
--->

A living - breathing - thriving networked neighbourhood -
proud of free culture - claiming it with others ;)

Other reviews,articles,interviews
http://www.furtherfield.org/reviews.php

Furtherfield – online arts community, platforms for creating, viewing,
discussing and learning about experimental practices at the
intersections of art, technology and social change.
http://www.furtherfield.org

Furtherfield Gallery – Finsbury Park (London).
http://www.furtherfield.org/gallery

Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org

http://identi.ca/furtherfield
http://twitter.com/furtherfield

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