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 regard to the art establishment’s unpredictable and indeterminate patterns of attention to art objects…

Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Criticism and Experience
Bernardo Ortiz Campo

Tempus Edax Rerum?
Adam Kleinman

The Death of the Audience: A Conversation with Pierre Bal-Blanc
Elisabeth Lebovici

Art and Thingness, Part I: Breton’s Ball and Duchamp’s Carrot
Sven Lütticken

Innovative Forms of Archives, Part One: Exhibitions, Events, Books, Museums, and Lia Perjovschi’s Contemporary Art Archive
Nataša Petrešin-Bachelez

Negation Notes (while working on an exhibition with Allan Sekula featuring This Ain’t China: A Photonovel)
Monika Szewczyk

We use cookies to improve your experience on our site. Read our privacy policy to learn more. Accept

Join Our Mailing List