My new research project is on contemporary art museums in Munich and New York – founded between 1980 an 2012.


The Concept of the Bucharest Biennale 2012

In the last few years, the ‘here and now’ has been increasingly referred to as ‘precarious,’ giving rise to a number of publications, conferences and exhibitions[1] that examine the relationship between different forms and interpretations of precariousness in relation to current artistic practice. As Hal Foster noted in his article ‘Precarious’, ‘Over the past decade, this condition became all but pervasive, and it is this heightened insecurity that much art has attempted to manifest, even to exacerbate. This social instability is redoubled by an artistic instability, as the work at issue here foregrounds its own schismatic condition, its own lack of shared meanings, methods or motivations. Paradoxically, then, precariousness seems almost constitutive of much art …'[2]. Foster further notes that within such work, the ‘”confusion” of ruling elites and the “violence” of global capital … is often staged in performative installations,’ and cites work by Thomas Hirschhorn and Isa Genzken that, in different ways, reflects this in both form and content.

Museum as Hub: Carlos Motta: We Who Feel Differently ::
“Museum as Hub: Carlos Motta: We Who Feel Differently” is a multipart project that explores the idea of sexual and gender “difference” after four decades of Lesbian, Gay, Bisexual, Trans, Intersex, Queer, and Questioning politics. Through an exhibition, series of events, and an opening symposium, the project seeks to invigorate discussion around a queer “We” that looks beyond tolerance or assimilation toward a concept of equality that provides for greater personal freedom. The project draws from Motta’s evolving database documentary, which proposes “difference” as a profound mode of possibility for both solidarity and self-determination.

by Josefine Wikström

Elmgreen & Dragset, Re-g(u)arding the Guards, 2005, 12 museum guards in an empty gallery, dimensions variable. Courtesy the artists and Galerie Perrotin, Paris

The half-day symposium ‘Untitled (Labour)’, held at Tate Britain, London on 17 March 2012, attempted to question the last few years’ frenzied obsession with the discourse around ‘immaterial labour’. Organised by PhD candidate Lauren Rotenberg and her supervisor TJ Demos, both from the History of Art Department at University College London, in collaboration with Tate’s Nora Razian, the symposium brought together artists and academics ranging from the fields of philosophy to sociology, economy and art history. The event aimed to interrogate the impact of immaterial production on the aesthetic forms of contemporary art, to address how ‘artists both embody and contest the precarious working conditions of immaterial labour’1 and in what way ‘contemporary art might or might not offer a critique of capitalism’, as Rotenberg formulated it in the introduction to the event. However the symposium failed firstly in contributing much new to the theory it claimed to use as a springboard for questions around contemporary art production, and secondly in identifying any political implications of such intersection, especially in relation to the working conditions facing artists and cultural workers today.
Read more

Thomas Huber: “Vous êtes ici” at MAMCO, Geneve, is one of the most exciting solo exhibitions in 2012. Since the early 1980s, the Swiss artist Thomas Huber has been producing an incredible body of work the reveals a deep link to painting an language. He includes thoughts on the origin of painting – starting from “surrealistic” up to very cold and clean “architectural” models between figure and text.