An Anti-Catalog was the work of the Catalog Committee of the group Artists Meeting for Cultural Change (AMCC). A landmark publication of the 1970s, its purpose was to protest the Whitney Museum of American Art’s bicentennial exhibition, which was titled “Three Centuries of American Art.” The Whitney show featured John D. Rockefeller III’s collection of mainly eighteenth and nineteenth-century American art–a collection that featured only one African American and one woman artist. The Catalog Committee, which consisted of fifteen artists and two art historians, spent almost a year producing an eighty-page book containing articles and documents. Originally conceived as a critique ...

For the Oncurating Issue 34, we asked artists, theorists, and researches to send us their proposals for a decolonized art practice, or how to deal with institutions in that regard. The 34 invited artists were given a carte blanche to contribute to the topic of decolonising art institutions. The aim: to provide a platform for a multiplicity of voices from the arts. These voices would propose an image of a decolonised art practice, all the while raising questions with regard to how one can engage with pre-existing institutions in a congruent manner. The material was then displayed as printouts by ...

e-flux journal has been invited to participate in All The World’s Futures — the 56th International Art Exhibition: La Biennale di Venezia. For their contribution they created a single issue of the journal spanning four months from May to August, with one piece of writing released each day. Departing from the journal’s usual essayistic format, the SUPERCOMMUNITY issue includes poetry, short fiction, plays and screenplays, as well as other epistolary forms by nearly one hundred authors. The theme is an umbrella for several sub-themes developed by Julieta Aranda, Brian Kuan Wood, and Anton Vidokle in collaboration with a number of guest ...

We never dreamt we would create the biennial as it occurred. Nor did we imagine we would be publishing this book two years later. The 6th Moscow Biennale of Contemporary Art, as an exhibition, was never fully ours, just as this book is not fully ours either. We are merely a node in a network that feels the urgency for proper public reflection. A similar kind of urgency led us to devote our best efforts to an almost defunct biennial, which resulted in an exhibition of remarkable vitality created under exceptional circumstances. This publication is the outcome of a shared feeling ...

The exhibition “In the Heart of the Country” is the first comprehensive presentation of the international collection of the Museum of Modern Art in Warsaw. In a relatively short time—the Museum was established in 2005—the institution has acquired over 300 works. First and foremost, these are works purchased as part of the Ministry of Culture and National Heritage’s “International Collections of Contemporary Art” programme, as well as donations and temporary loans from artists, private individuals and businesses. Many of the collected works were commissioned by the Museum for its exhibitions and public projects (such as pieces by artists like Sanja Iveković, Zbigniew ...

The Áltá-Guovdageino Action (c. 1978–82) changed the course of Sami and Nordic history. This exhibition showcases the role of Sami artists in the action, and the solidarity of non-Sami counterparts. It also presents contemporary artistic positions, Sami and international, exploring the legacy of this Eco-Indigenous uprising today, at a time of growing global Indigenous power.

This study was begun in Venice, the birthplace of tourism, and the souvenir made for the tourist trade. But we will not consider objects; that is another discussion. Only stuff—material. If I am treated badly by some airline staff I may want to write a letter of complaint. If I write this letter with a pen or pencil and my own hand, in script, a secretary will throw it away without anyone having read it. She will know that it was written by a crazy guy. If I use a typewriter the result will be the same because by now the ...