Over the past few years, contemporary art foundations have been sprouting up across the globe in large numbers. Though some are driven by personal passion, this is rarely the case. Most obey the logic of marketing aimed at the luxury and cosmetics industries. What’s even more troubling is that these foundations repeat the same stereotypical discourse on art as public institutions, potentially leading to an anesthetizing conformism.
Sibylle Vincendon, “Avec son musée, François Pinault offre l’affaire du siècle à Paris et Anne Hidalgo”, Libération, April 27, 2016
Projet Phalanstère at CAC Brétigny or “De l’orgie de musée ou omnigamie mixte en ordre composé et harmonique”, Sternberg Press, CAC Brétigny, Work Method, 2017.
The artist covered the space in glitter, which was then spread by the visitor’s footsteps, ultimately filling the cracks to become an ingrained part of the building.
“The Canaletto View – Der Canaletto Blick”, with Olga Chernysheva, Franz Erhard Walther, Marcus Geiger, Tomislav Gotovac, Sanja Iveković, Edward Krasiński, Roman Ondak, Florian Pumhösl, Ashley Hans Scheirl, Slaven Tolj, Clemens von Wedemeyer and Lois Weinberger; curators, Kathrin Rhomberg and Pierre Bal-Blanc, Erste Campus, Vienna, Austria, 2017. https://www.erstegroup.com/content/dam/at/eh/www_erstegroup_com/de/%C3%9Cber%20uns/erste-campus/erste-campus-art-in-architecture-booklet.pdf
Originally published in French, after the English publication “American Nightmare: Neoliberalism, Neoconservatism, and De-Democratization”, published in 2006 by Sage Publications, INC, California, then published in France the following year by Les Prairies Ordinaires.
During a recent stand-up comedy act by French artist Dominique Gilliot, À propos du financement des centres d’art (“On financing art centers”), performed at Palais de Tokyo on November 24, 2017, as part of an event organized by d.c.a, an association of venues for experimental work which are precisely that: art centers, the artist brought…