Gregory Sholette

PublisherOnCurating.org2019
Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing disciplines, classes, norms—proposing new forms and relations of living and establishing these practices (building centres along the way) but at the same time always changing their positions, never staying at the centre, but instead unfolding on the periphery of social life. In this OnCurating Issue, we searched for and researched projects and institutions that hold at their core something between the lines of centres–peripheries with their transversal practices and modus operandi. For ...
Publishere-flux2012
As we continue to reflect upon the chain of political upheavals of 2011, it may be interesting to consider a particular shift in the status of information technology, now that it has been deployed as such a powerful force in facilitating the rise of a new popular voice… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle An Internet of Things Keller Easterling Notes on the Inorganic, Part I: Accelerations Gean Moreno After OWS: Social Practice Art, Abstraction, and the Limits of the Social Gregory Sholette General Performance Sven Lütticken The Sound of Breaking Glass, Part II: Agonism and the Taming of Dissent Grant Kester
Progressive Art Institutions in the Age of Dissolving Welfare States The final word of power is that resistance is primary.” (Gilles Deleuze) The indissoluble link between power and resistance, as described byFoucault and Deleuze, is especially evident in the institutions of theart field. Progressive art institutions play a particularly exposed role here as buffers against the influence of state and capital on critical art practices and as machines of a soft instrumentalization of resistance at the same time. The essays in this edition discuss strategies and alliances between activist art practices and progressive art institutions that are capable of providing artistic criticism ...
PublisherShifter2012
To intend is to have a conception of the future. To direct and extend attention to a moment that is yet to arrive. To construct a contingent model of the future, while negotiating and adjusting it at any given moment against countless uncertainties, thus providing the greatest possible chance of this future’s arrival. To reflect upon an action and determine its intention is then to trace the arc of this willed movement—looking back, culling through layers of events, interactions, and gestures, all of which make up the texture of the present. Intention could then be understood as a method of plotting ...
PublisherShifter2016
A book of metadiscourse, Withdrawn: A Discourse consists of 50 letters composed by Thom Donovan to the proper names of living personages which appear in his currently unpublished second book of poems, Withdrawn. In response to his letters and copies of Withdrawn in manuscript, thirty-two addressees offer images, letters, drawings, poems, essays, dream journal entries, art works, documents, and manifestos. Withdrawn: a Discourse also includes Donovan’s correspondence for the project; an essay regarding the “authorless” book; as well as a review of Withdrawn by poet and translator, Ian Dreiblatt.

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