Exhibition/Non-exhibition: Stretched Out

Today’s post is by Dr. Emma Coffield, ICCHS researcher

Venice

A few months ago, I was invited to take part in Exhibition/Non-exhibition: Stretched Out, a seminar organised by Jason E. Bowman, Julie Crawshaw and Mick Wilson (Valand Academy, University of Gothenburg), which aimed to draw together researchers and practitioners engaged in investigations of the artist-led, instituting, the curatorial, the exhibitionary and the ‘stretching’ of artistic practice beyond ‘art-making’.

Held at the first pavilion in the history of the Venice Biennale to be dedicated to artistic research, the seminar began with an introduction to the Stretched project (a three-year long inquiry into expanded artistic practice and artist-led cultures at Valand Academy) from Jason E. Bowman. Four papers followed: in the morning session I drew upon my PhD research to argue against any kind of artist-run ‘culture in common’ and for a more critical approach to collective action, while Megs Morley explored instituting as a form of resistance with reference to her extensive research-led practice. In the afternoon, the Italian curator Valario Del Baglivo questioned the need for permanent space and suggested alternative strategies of solidarity, and Dr. Georgina Jackson spoke of the potential of the political, and political agency, in exhibition-making.

Despite the varied nature of the presentations, during the discussions that followed (or during the ‘interrogative questioning’, as it was billed!) a number of key concerns came up, as expertly summarised by Prof. Andrea Phillips (Goldsmiths): how might we work together to maintain artist-run initiatives – and should we? How might the artist-led correlate with the idea of public space, and what do we lose by labelling it ‘artist-led’? How do institutional, economic, educational and structural formations limit the horizons of the possible – and why does knowledge ‘bleed out’ of the artist-led with every ‘new’ generation?

As for my own work, I’ve been thinking about how to move beyond the case study approach to engage more adequately with structural, cultural, social and political ideals of the artist, art and art-making for a while now – and I’m still not completely sure how to go about this – but I now have some intriguing possibilities to follow up, and a lot of reading to do. My thanks are due to all those who shared, very generously, their thoughts with me, and to Valand Academy in particular for the invitation.

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