This panel aims to examine whether and how practitioners are challenging and disrupting the notion of the «essential critic» through collaborations, interventions / take overs,
alternative modes of production and resistance aesthetics.
Not exact matches
In strict science, we can only write down the bare fact
of concomitance; and all talk about either
production or transmission, as the
mode of taking place, is pure superadded hypothesis, and metaphysical hypothesis at that, for we can frame no more notion
of the details on the one
alternative than on the other.
Has an economic and ethical line been drawn in the sand between the art market, with its appetite for eye - candy, and
alternative factions and
modes of production, in whatever forms they may take?
Their experimental
mode of production, use
of alternative materials and visceral facticity align the artist with other European and American painters working in this decade such as Alberto Burri, Jean Dubuffet, Jean Fautrier, Cy Twombly, Jay DeFeo and Hassel Smith.
In No - Fi (No Fidelity), HATCH Projects artists Lori Felker, Jesse Seay, and Sebura & Gartelmann (Jonas Sebura and Alex Gartelmann) investigate the spectrums
of craft and technical proficiency while practicing restraint or employing
alternative methods in their
modes of production.
He collaborates with communities connected to places
of production to generate site - specific performances to camera which explore the role sound plays in creating a sense
of collectivity, highlighting
alternative modes of human existence, work and action.
«I wish to question the role
of the artist in these societies
of control, and to speculate on the possibilities that art or cultural
production in general has in developing
alternative modes of being.»