The generic theme of Circulation, which is the “compulsory figure test” of this edition of curated by, is only a large basket that allows you to draw the curatorial material and even to free oneself as it turns out, in the programmatic text, that the processes are more dynamic.
The severity of some consequences can take us by surprise, as Rita Valencia’s protagonist learns the hard way in the short story “Indecency”. She knew right away that something irreversible had occurred when she erroneously uses the word “bag” in place of the word “back,” an error that she calls “a leak of rotten soul juice,” a carelessness that condemns her to live her slip of the tongue.
Oswald Oberhuber is an artist who tries to unite art and life. Oberhuber is a universalist: sculptor, painter, art theoretician, educator, exhibition organiser, professor and poet. He took on a wide variety of positions in the art system, from the artist to the gallery owner to the university rector.
Carefully curated is the prefabricated stream of media content by which we are constantly surrounded. The hierarchical processes of selection by and through which information is mediated and orchestrated as knowledge – a power at once real and symbolic – are determined by a complex system of strategic and political interests that shape public opinion.
I was sitting in a bar and I remembered what Sebastian Black once wrote to me:
“In my neighbourhood there is a coffee shop that turns into a wine bar at night. I went there one afternoon to relax and browse through some anarchist pamphlets that had been handed to me at a march that I had inadvertently joined while trying to cross the street to buy a pack of cigarettes. I sat down with my latte and absentmindedly leafed through the photocopied pages.
I am an observer-participant living in these present times with a social responsibility to communicate my observations to others when this is possible. It falls to me to leave a catalogue of today’s “scenes of the crimes” for future generations so lives and struggles are not totally lost to history. This goes beyond the usual documentation of demonstrations to encompass the wider everyday which appears so ordinary that most people do not bother to record it. Terry Dennett, artist statement, 2011
For the last few years I have chased, collected and spread cursed images, the curse is a demonic spirit that inhabits certain images and which passes to the viewer on contact, unsettling them, causing confusion, unease or dread. In 2015 the Tumblr account cursedimages.tumblr.com began to define and categorise a type of image that they identified as being cursed, images that produce a disruptive and unsettling effect on the viewer. In each image the root of its disruptive affect varies, although not tied to any specific content, subject or image there is always a sense that the image is illogical, abnormal or wrong in some fundamental way.
Alfredo Jaar: Towards a Culture of Resistance
Studying architecture and filmmaking in Santiago during the Pinochet military junta, Alfredo Jaar experienced the harsh realities of making art in the shadow of repression, censorship and injustice. From the start, his aesthetic decisions were informed by a politics of resistance and the necessity to ‘speak truth to power’ through a visual language that engaged and alerted viewers to the contradictions underlying the production of common sense under totalitarianism. Working across mediums and materials—photography, film/video, installation and performance—Jaar took from architecture the significance of place and location and from film the mise-en-scène, fermented in the historical moment of Latin American conceptual art with its socio-political orientation.
Three distinct projects present positions on artwork as a structure for recirculation and recontextualisation. In an economy that is defined by speculative markets and overproduction, artistic structures become a moment of selection for symbolic meaning. From the detritus and leftovers found in peripheral flea markets, to heavy branded and merchandised single-use production, and the reformulation of images from television and cinema, the artist’s studio is considered a microcosm of immense global distribution. Àngels Miralda