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Afterall is pleased to present issue 30, Summer 2012, which looks at
the relationship between institutions and the local.
During the
1990s, the discourse around New Institutionalism called for a more direct
relationship between institutions and their different constituencies, as
well as more enhanced models of participation. In this issue, we examine
what the concrete effects of such rhetoric have been two decades later,
both on art and curating. The case studies addressed range from
organisations such as the collective ruangrupa in Indonesia, Grizedale Arts
in the north of England, and The Artist's Institute in New York, to art
practices that navigate the intersection between place, people, and
community, such as those of Jimmie Durham, Yael Bartana, and Theaster
Gates.
Jimmie Durham has for many years contested how
traditional readings of a place are constructed, showing the bias and
contingency in history and geography. In his text, Anders
Kreuger discusses Durham's decades-long practice, while
Anthony
Huberman reflects on Durham's show at The Artist's Institute
and the responses it engendered.
In her work, Yael
Bartana radically questions the connection between people and place
that has been at the heart of Israeli identity. Volker
Pantenburg examines her practice, following its move from
documentary to her founding of the Jewish Renaissance Movement in Poland,
and the ramifications of the latter. Teresa
Riccardi and Nuria
Enguita Mayo look at the practice of Eduardo Molinari,
who makes work and political actions under the umbrella of Archivo
Caminante, a 'walking archive' that exists in a liminal state between
bona fide historical archive and fictional artistic project.
Other artists forge a relationship to their communities that is
closer to that of the institution. Hesse
McGraw, for example, examines Theaster Gates's urban
regeneration programmes in under-developed Chicago neighbourhoods,
assessing how Gates uses the value of his artworks on the market as funding
for these projects. The collective ruangrupa both organise
exhibitions of their work and put together festivals and a series of
networks for self-organised spaces across Indonesia; Nuraini
Juliastuti talks to ruangrupa's director, Ade Darmawan,
while David
Teh discusses their practice in the context of the Southeast
Asian art scene.
Turning to institutions, John
Byrne assesses the work of Grizedale Arts, a residency
space and commissioning agency that is seeking to reinvigorate John
Ruskin's legacy of politics in aesthetics, while Mari
Paz Balibrea looks at the project On Capital and
Territory, which used Henri Lefebvre's writings on social space to
examine the impact of the housing bust in southern Spain. Finally, Alberto
López Cuenca returns to the history of artistic labour
to discuss how we might understand artistic productivity within the New
Economy.
Afterall Books is proud to present the third
book in the Exhibition Histories series: From
Conceptualism to Feminism: Lucy Lippard's Numbers Shows
1969–75. Afterall Books is also very happy to
announce that this book is published in association with the Center
for Curatorial Studies, Bard College, their new research partner
for the Exhibition Histories series, which joins the Academy
of Fine Arts Vienna and the Van
Abbemuseum.
Kodwo Eshun's Dan
Graham: Rock My Religion and Steve Edwards's Martha
Rosler: The Bowery in two inadequate descriptive systems
also appear this spring.
Afterall
journal is published by Central
Saint Martins College of Art and Design, London, in editorial and
research partnership with M
HKA, Antwerp; UNIA
arteypensamiento, Seville; and the journal's new partner the Smart
Museum of Art and Open Practice Committee, University of
Chicago; and in association with the University
of Chicago Press.
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journal, please click here.
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