Walking into the Art Institution
The workshop will be an intervention and discussing the methodology of reclaiming an contemporary art institution in London. Throughout history, large art museums and cultural institutions have been instrumental in forging “powerful myths(history)”.
For example, The strategy of Tate Modern in London, where the workshop is willing to take place, states that
"Tate is a leading global institution and we will continue to influence critical thinking about art practice... We want to celebrate the art of the past and present in its complexity and diversity, supporting artistic risktaking and deep scholarship....modern and contemporary international art that reaches across all continents, ... with art that will resonate around the world. We will redefine museum experiences for the 21st century."
Art institutions are "the custodians of our shared history." The collection preserve what will be historically important for the future, it is a shared patramony of narratives, pride, stuggles, achievements. They also authorize what contemporary works that deserving of a place in our future’s past and written into that history. Moreover, since a number of "institutions" are often in receipt of public funds, they must be able to demonstrate their fulfilment of this social responsibility and are accountable to diversity of persepectives.
As art historian Carol Duncan wrote, “means precisely to control the representation of a community and its highest values and truths. It is also the power to define the relative standing of individuals within that community.”
However they are built on social norms that actually exclude particular people and exclude more kind of sex and gender diverse realities than are present in society. Such as in Tate Gallery Workforce Diversity Profile 2021/2, 18% of the workforce were Black, Asian and Mixed or other Ethnics group, 6% identified as having a disability, and 14% were identified as Lesbian, Gay and Bisexual.
In recent years, there is a therefore the rise in trend of building environment incomplicit in reproducing those forms of power in London including online space, which will be explored and researched further in the workshop.
Key Agenda
- How is emerging of independent spaces systemically challenge the artword, in terms of lacking diversity in ethnicity, gender and access to artspace of artists and curators with minor backgrounds. Is emerging independent art space(physical and digital) alternative of such institutions?
- In emergence of social media, the model of traditional gatekeeping theory has been overturned. How is the infrastructure is designed and delivered more effectively in online spaces?
- Is the gatekeeping necessary in certain spaces? Is the act to gain equality shading over freedom?
Contents
<Panel Discussion: Sharing Experience and Critical Digest>
The discussion will invite artists and institutional curators from underrepresented spectra of society, and founders/curators of independent art-institutional space (physical/digital), sharing their experiences and blueprints of new institutionalized spaces.
Alongside, it will showcases of artworks rejected from institutions.
<Activity 1: Mapping Critical Evaluation>
Mapping the discussed methodology in words, as language is a space/place for struggle, the participants will share what is the utopia of art institution in terms of space and practice in consider of one's positionality.
<Activity 2: Mapping the Alternatives>
As a group, the participants create a map in digital space that map out the alternative space for new interpretation of history that worths attention and going into.
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