Cassie Thornton- Physical Audit
Laboratory of Insurrectionary Imagination- An Open Letter in the Dark
Marc Herbst- Reportback from On the New Abduction of Europe
Anabel Roque Rodriguez- From Truth to Concrete Action
Paula Cobo- (if we organize, we can all fuck)
Gavin Grindon- Pick Apart the Different Approaches
Ian Alan Paul- Mapping the Avenues of Escape, and Capture
Alan W. Moore- Less Concision and More Encyclopedic Inclusion
Michael Wilson- I think that one must oppose curation completely
Christopher Pickett & Heath Schultz- What We Could Do
Spurse- Commons Sense
Daniel Tucker- Against Social Practice
In light of…
- generating more concise counter-power
- numerous institutionally supported international and local art exhibitions and event-based discourse featuring radical creative practices beyond the traditional activist sphere
- recent articles (see below) in response to the Truth is Concrete and the Creative Time Summit…
…what could we do together as a collected, collective body?
In Immediate Response To….
For some years now, we have all been meeting, chatting and planning in exhibitions, panels, visits and through social media…that we are working toward a similar political project is clear. Some of us are “outsiders,” others “insiders,” but we certainly have a common commitment to and interest in the same general direction.
The art world has stepped up as a growing platform for our output. In some ways it seems like this fact has been an actual achievement of an amorphous, radical cultural left—that in a time of instability and institutional collapse our projects are finding support and ever larger stages. Moreover, time and again we are given the opportunity to talk, think, and work collectively.
Yet, as a general body, we have done little collective, creative work imagining how we as radical, political actors might better take advantage of these situations. How can we move past our discontent in these events, toward finding ways to use them productively? What would it be if instead of these gatherings being a curator’s index (and, often, efforts toward recuperating cultural capital), they strove to be actual events? New internationals? Key elements of more concise movements?
How might these events and exhibitions help and be a part of broader struggles (for instance, the struggle to build and support more just and democratic political spaces, especially at this moment); what can we do and what must we know to amplify this?
- How can we create the conditions for these events to be best utilized?
- What can we collectively effect within the art world (its critical and curatorial machines)?
- What in the world can we effect from the art world platform that we have collectively labored to achieve?
- How can we prevent these events from falling into the trap of being surface-level reflections?
- What role do organizational structures play in these patterns?
- How can we supersede the power present over these events, and find power with and amongst each other?
- What structural changes are needed in order to facilitate radical and effective outcomes?
- How can we use our common ground to leverage our influence?
- What artistic movements have worked in the historical and recent past? What hasn’t?