Monika Szewczyk

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Publishere-flux2010
Repeated attempts to dismantle the aura of value and rarity surrounding art objects have been, for the most part, unsuccessful. Why is that? The majority of these attempts throughout the twentieth century have consisted of infiltrating the economy of care, custodianship, conservation, and considered attention granted to art objects upon entry into the art establishment. While the introduction of impostors into this ecosystem in the form of real-world doubles (such as Duchampian readymades) served to short-circuit the aura of authenticity within spaces of art, over time these impostors nevertheless began to perform the function of ritualizing a general sense of disbelief with ...
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Publishere-flux2009
These days, it is fairly clear that we consider art to be a trans-disciplinary field in a position to nurture other disciplines, and to be nurtured by these other disciplines in turn. As promising as this might sound, the terms for this exchange become significant, because it remains unclear what exactly we presume art to offer to the world. When hard pressed, we usually prefer not to prequalify the nature of artistic contribution at all, because in fact artists reserve the right to offer nothing other than doing work on their own terms. This requires a delicate balance, and it ...
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Publishere-flux2009
The processes of the factory have entered the museum in ways that Warhol and Duchamp could never have dreamed: the amount of art production now by far exceeds what can be processed or understood, and this often creates a degree of mistrust and an absence of common points of reference with which to not only discuss, but also to gain anything from the sheer volume of artworks placed on display today. The time to engage and digest work is often replaced by additional work—it just keeps coming down the line… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle Concerning Matters to be Left ...

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