production

The Big Mirror (2008), by Jan Mancuska

imagery, installation, mirror, photography, production, space, work of art
Monday, April 22nd, 2013

Contemporary curating is marked by a turn to education. Educational formats, methods, programmes, models, terms, processes and procedures have become pervasive in the praxes of both curating and the production of contemporary art and in their attendant critical frameworks. This is not simply to propose that curatorial projects have increasingly adopted education as a theme; it is, rather, to assert that curating increasingly operates as an expanded educational praxis. It is this proposition — that curating, and art production more broadly, have produced, undergone or otherwise manifested an educational turn — to which the authors gathered in this volume have been invited to respond.

Curating and the Educational Turn (2010), by Paul O’Neill and Mick Wilson (eds.)

curating, education, metworks, production, theory, work
Monday, April 22nd, 2013

Untitled 50 (2011), by Hugh Scott-Douglas

abstraction, black/white, imagery, iteration, painting, production
Tuesday, February 5th, 2013

untitled (2012), by Ruben Aubrecht and Maria Anwander

art history, history, imagery, production, text/image, work of art
Monday, October 22nd, 2012

We Sat Drinking Quietly (2012), by Guy Broadhurst

approriation, art history, imagery, production, sculpture, venus
Thursday, September 6th, 2012

The figure of the middleman is typically seen as a conformist, parasitical agent responsible for short-circuiting authenticity. The middleman has an aura of mediocrity. The middleman is average, and a suspect character. There is always the risk that he knows more than he should and that he feathers his own nest. In other words, the middleman has an opaque presence in social space.
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The Middleman Beginning to Talk about Mediation (2007), by Søren Andreasen and Lars Bang Larsen

curating, mediation, metaworks, production, theory
Thursday, September 6th, 2012

“‘The contemporary artist … produces production itself, presentation itself … images and ideas of these that are at the same time (like it or not) ethical propositions.’” [...] “Perhaps we have already moved too quickly. Is something to be done at all? Faced with the apparent emergence of art as a fully functioning industry … might it not be better to take industrial action, that is to say to strike, to withdraw labor from the art system as it is now constituted? Maybe nothing is to be done.” [...] “While her ‘free time’ is spent working with her female friends on an art project—as she says, ‘one interesting project or another is always blowing into my house’— her days remain filled with different activities characterized by usefulness and/or idealism, both informal and normally undocumented.”
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Counter-Production (2012), by Diana Baldon, Ilse Lafer, Luke Skrebowski (eds.), by Dexter Sinister (design)

activism, artist subject, counterproduction, dispersion, exhibition, labour, metaworks, production, subject, theory
Thursday, September 6th, 2012