Pierre Bal-Blanc is an independent curator and essayist based in Paris and Athens. He was curator for documenta 14 in Athens and Kassel. His last project “Der Canaletto Blick- The Canaletto View” in 2017 was a commission program for the Erste Gro... [ read more ]
This text is the starting point for the seminar The Cultural Logic of Private Art Foundations in Late Capitalism organized by Pierre Bal-Blanc together with Kathrin Rhomberg the next 25th of june at Tanzquartier in Vienna in the frame of the performance exhibition “Collective Exhibition for a Single Body – The Private Score – Vienna 2019” commissioned by the Kontakt Collection and co-produced by Tanzquartier Wien from 18 to 28 of june 2019.
With works and performances by: Milan Adamčiak, Geta Brătescu, Andr. Cadere, Cornelius Cardew, Jani Christou, Josef Dabernig, Anna Dauč.kov., VALIE EXPORT, Stano Filko, Marcus Geiger, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, Anna Jermolaewa, Jakob Lena Knebl, J.lius Koller, Jiř. Kovanda, Katalin Ladik, Sarah Lucas, Marcello Maloberti, Vlado Martek, Dora Maurer, Karel Miler, Ivan Moudov, Paul Neagu, Neša Paripović, Manuel Pelmuş, Nedko Solakov, Petr Štembera, Mladen Stilinović, Sven Stilinović, Ceija Stojka, Raša Todosijević, Slaven Tolj, Goran Trbuljak, Ludwig Wittgenstein, Artur Żmijewski et al.
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.