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This dissertation looks at pivotal exhibitions of the mid-1980s in the Low Countries – Flanders and the Netherlands – to examine strategies devised by artists to take control over conditions that shape the appearance and reception of their work. Reflecting upon the pioneering work of artists from decades prior (who would, around this time, be associated with the term ‘institutional critique’), by the mid-1980s artists were cognizant of the mechanisms by which art is framed, reproduced, and distributed. Breaking art out of the systems that bestowed value upon it proved increasingly untenable, but taking an ideological standpoint within its institutions seemed equally disingenuous. By 1985, when this dissertation picks up, the situation of contemporary art in Flanders and the Netherlands had changed dramatically from previous decades. A reduction in governmental support of artists on the one hand, and an increasing influence of private funders in art’s institutions, had altered the game. New conditions called for new strategies that would enable artists to assert control over the mediation of their work. These strategies reflect the social, political, and technological conditions in which the artists were living. The disruptive attitudes of artists as diverse as Guillaume Bijl, Barbara Bloom, Daniel Buren, Ulises Carrión, Fortuyn/O'Brien, Jef Geys, General Idea, Gerald Van Der Kaap, Barbara Kruger, and Wim T. Schippers, stand out in essential, yet under-investigated exhibitions of this time. These artists were responding to the framing apparatus, and as such, the exhibitions for which they produced works are an essential context. This research addresses a pressing debate on the importance of a cultural policy that provides ample governmental support to artists to explore critical and innovative projects, offering essential historical and political context. It offers evidence that the mid-1980s was a transitional moment in the Netherlands and Flanders – in terms of critical engagement, institutional conditions, and cultural policies – and is therefore crucial for those seeking to understand the shifting structures in which art and artists operate at present. Furthermore, in its challenge to the terms by which critique and its implications are defined, this dissertation has significance for geographic regions and time periods well beyond the Low Countries suggesting that critique may be found in places still under-recognized by art historians.

This dissertation looks at pivotal exhibitions of the mid-1980s in the Low Countries – Flanders and the Netherlands – to examine strategies devised by artists to take control over conditions that shape the appearance and reception of their work. Reflecting upon the pioneering work of artists from decades prior (who would, around this time, be associated with the term ‘institutional critique’), by the mid-1980s artists were cognizant of the mechanisms by which art is framed, reproduced, and distributed. Breaking art out of the systems that bestowed value upon it proved increasingly untenable, but taking an ideological standpoint within its institutions seemed equally disingenuous. By 1985, when this dissertation picks up, the situation of contemporary art in Flanders and the Netherlands had changed dramatically from previous decades. A reduction in governmental support of artists on the one hand, and an increasing influence of private funders in art’s institutions, had altered the game. New conditions called for new strategies that would enable artists to assert control over the mediation of their work. These strategies reflect the social, political, and technological conditions in which the artists were living. The disruptive attitudes of artists as diverse as Guillaume Bijl, Barbara Bloom, Daniel Buren, Ulises Carrión, Fortuyn/O'Brien, Jef Geys, General Idea, Gerald Van Der Kaap, Barbara Kruger, and Wim T. Schippers, stand out in essential, yet under-investigated exhibitions of this time. These artists were responding to the framing apparatus, and as such, the exhibitions for which they produced works are an essential context. This research addresses a pressing debate on the importance of a cultural policy that provides ample governmental support to artists to explore critical and innovative projects, offering essential historical and political context. It offers evidence that the mid-1980s was a transitional moment in the Netherlands and Flanders – in terms of critical engagement, institutional conditions, and cultural policies – and is therefore crucial for those seeking to understand the shifting structures in which art and artists operate at present. Furthermore, in its challenge to the terms by which critique and its implications are defined, this dissertation has significance for geographic regions and time periods well beyond the Low Countries suggesting that critique may be found in places still under-recognized by art historians.

This dissertation looks at pivotal exhibitions of the mid-1980s in the Low Countries – Flanders and the Netherlands – to examine strategies devised by artists to take control over conditions that shape the appearance and reception of their work. Reflecting upon the pioneering work of artists from decades prior (who would, around this time, be associated with the term ‘institutional critique’), by the mid-1980s artists were cognizant of the mechanisms by which art is framed, reproduced, and distributed. Breaking art out of the systems that bestowed value upon it proved increasingly untenable, but taking an ideological standpoint within its institutions seemed equally disingenuous. By 1985, when this dissertation picks up, the situation of contemporary art in Flanders and the Netherlands had changed dramatically from previous decades. A reduction in governmental support of artists on the one hand, and an increasing influence of private funders in art’s institutions, had altered the game. New conditions called for new strategies that would enable artists to assert control over the mediation of their work. These strategies reflect the social, political, and technological conditions in which the artists were living. The disruptive attitudes of artists as diverse as Guillaume Bijl, Barbara Bloom, Daniel Buren, Ulises Carrión, Fortuyn/O'Brien, Jef Geys, General Idea, Gerald Van Der Kaap, Barbara Kruger, and Wim T. Schippers, stand out in essential, yet under-investigated exhibitions of this time. These artists were responding to the framing apparatus, and as such, the exhibitions for which they produced works are an essential context. This research addresses a pressing debate on the importance of a cultural policy that provides ample governmental support to artists to explore critical and innovative projects, offering essential historical and political context. It offers evidence that the mid-1980s was a transitional moment in the Netherlands and Flanders – in terms of critical engagement, institutional conditions, and cultural policies – and is therefore crucial for those seeking to understand the shifting structures in which art and artists operate at present. Furthermore, in its challenge to the terms by which critique and its implications are defined, this dissertation has significance for geographic regions and time periods well beyond the Low Countries suggesting that critique may be found in places still under-recognized by art historians.

Die Universit��t als Institution ist eine von vielen Akteuren in dem zunehmend undurchschaubaren Netz der der kulturellen Hegemonie. Da sie zugleich Wissen und Macht in sich verk��rpert, ist es wichtig, sich deren Beziehung zueinander und Ausf��hrung derer im Klaren zu sein.Diese Arbeit besch��ftigt sich mit der Frage, ob und wie Institutionelle Kritik in Architektur ��bersetzt werden kann. Eine n��here Betrachtung der Technischen Universit��t Wien (Micro) und der Universit��t als umfassendes Konzept (Macro), wie diese Institutionen heutzutage agieren, sowie deren Organisation in geschichtlichem Kontext, gibt Aufschluss ��ber die Grundbausteine der Universit��t. Von den Studentenaufst��nden Anfang des 20. Jahrhunderts bishin zur Gr��ndung utopischer Architekturkollektive in den `60er Jahren ��� all diese Ereignisse waren Teil des Habitus, welcher von der Universit��t gepr��gt wurde und gleicherma��en die Universit��t pr��gte. Wie werden Ideen von Hierarchien, Zug��nglichkeit und Performativit��t heutzutage kommuniziert? Sind die konventionellen Formen des Protests noch anwendbar und zielf��hrend? Die Akademische Kom��die bedient sich der Bildsprache der G��ttlichen Kom��die von Dante Alighieri, indem sie die r��umliche Organisation des Inferno, dem ersten Teil der G��ttlichen Kom��die, extrahiert und neu anwendet. Gleichzeitig veranschaulicht sie den Status Quo der Universit��t in der Krise. Im Gegensatz zu einer top-down Herangehensweise, die ihre Politik mittels Institutionalisierung von Macht legitimisiert, bedarf es in der akademicshen Kom��die einen modus operandi, der vom Untergrund aus arbeitet, handlungsf��hig und resilient ist. ��[Going] hands full into the underground of the university, into the Undercommons [...] is the only possible act.�� (Moten, Harney 2013)Die Akademische Kom��die ist eine vielseitige Arbeit, die sowohl theoretische Betrachtungen und intensive Recherche innerhalb der Universi��t, als auch die Symbiose derer mit Dante���s G��ttlicher Kom��die in einem Entwurf f��r ein B��hnenbild der Akademischen Kom��die vereint., The university as an institution is one of many agents in the progressively inscrutable web of cultural hegemony. While it embodies both knowledge and power, it is important to understand the relationship between, and the execution of the two.This thesis raises the question of whether and how Institutional Critique can be translated into architecture. By examining the Technical University of Vienna (Micro) and the university as a general concept (Macro), how these institutions function nowadays as well as how they were organized historically, the universities��� cornerstones begin to crystallize. From student riots in the beginning of the 20th century to the formation of utopian architecture collectives during the 60ies, all these instances were part of the habitus that was shaped by and was able to shape the university. How are notions of hierarchy, accessibility and performativity communicated nowadays? Are these conventional forms of protest still applicable and do they lead to lasting change? The Academic Comedy borrows from Dante Alighieri���s Divine Comedy, as it tries to extract and reapply the spatial organisation of Inferno, the first part of the Divine Comedy, in addition to TAC performing the status quo of the university in crisis. Rather than a top down approach that tends to legitimize policies by way of institutionalizing power, The Academic Comedy calls for a modus operandi that works from beneath, that is viable and resilient. ��[Going] hands full into the underground of the university, into the Undercommons [...] is the only possible act.�� (Moten, Harney 2013: 28)The Academic Comedy is a multi faceted project, combining research within the University with Dante���s Divine Comedy and a design for the stage of TAC at the Techincal University of Vienna.

_rt Movement(s) is an artist research project intended as a text object that materially represents the complex, relational articulation of art and history with particular emphases on the contingent relationships made by movements of different kinds: geographical migration of artists, displacement of art objects, performances, institutions/festivals, and theories/theorists. _rt Movement(s) challenges the linear developmental approach of normative art history, and its nationalist, racialized, and ethnocentric assumptions. Instead, the project argues through diverse sources, including texts, images, graphs and other visualizations for the essentially translocal and transhistorical character of works of art.

Esta pesquisa é uma reflexão sobre minha prática artística que se constrói com base em questões relacionadas ao universo do hiperconsumo na sociedade contemporânea. Tomando como eixo o processo de criação de duas mostras individuais que abordam o próprio contexto mercadológico onde se inscrevem — uma galeria de arte na cidade de Porto Alegre —, a dissertação constrói um cenário que amplia as discussões promovidas por ambas as mostras. Aproximando-as de outras ações artísticas com ocorrência em diferentes pontos do globo, o texto analisa um conjunto diversificado de perspectivas e estratégias que problematizam as instâncias de legitimação e valoração da arte contemporânea. Refletindo sobre o cinismo como uma estratégia renovada de crítica, busco analisar a metodologia da crítica institucional à luz do mercado global contemporâneo. This research is a reflection about my artistic practice, built based on issues related to the universe of hyperconsumerism in contemporary society. Taking as its axis the creative process of two solo exhibitions that approach the market context in which themselves are inscribed — an art gallery in the city of Porto Alegre —, the dissertation creates a setting that enhances the discussions promoted by both shows. By placing them together with other artistic operations occurring in different places around the world, the text analyzes a diversified collection of perspectives and strategies that problematize the instances of legitimization and valuation of contemporary art. Reflecting about cynicism as a renewed critical strategy, my aim is to analyze the methodology of institutional critique in the light of the contemporary global market.

This article raises an issue of participatory strategy of the Maria Klassenberg. Home choreographies' virtual spectators and participants. The author uses the performance as research method in order to analyze the workshop environment behind the official record of the spectacle which took place in Internet via Zoom platform. The starting point is the consideration if the show meets Nancy Fraser's terms of participatory parity. This paper also discusses the consequences of the oculocentric structure of the performance's virtual community using Guy Debord's concept of society of the spectacle and Bojana Kunst's diagnosis of associations between art and capitalism.

UIDB/00417/2020 UIDP/00417/2020 As práticas artísticas activistas são um importante meio de contestação e impõem desafios ao discurso hegemónico. Neste artigo analisamos a subversão enquanto estratégia de resistência, que opera transformando o espaço institucional numa arena cultural, onde a hegemonia é questionada e diferentes perspectivas se confrontam. Como estudo de caso, apresentamos a obra Subsidy do artista Joshua Schwebel, cujo foco é a realidade laboral do sector artístico no capitalismo contemporâneo. Artistic activism practices are an important form of protest and challenge the hegemonic discourse. In this article we analyse subversion as a resistance strategy, which operates by transforming the institutional space in a cultural arena, where hegemony is questioned and different perspectives are confronted. As a case study, we present the work Subsidy from the artist Joshua Schwebel, which questions labour relations in the arts sector in contemporary capitalism. publishersversion published

As práticas artísticas activistas são um importante meio de contestação e impõem desafios ao discurso hegemónico. Neste artigo analisamos a subversão enquanto estratégia de resistência, que opera transformando o espaço institucional numa arena cultural, onde a hegemonia é questionada e diferentes perspectivas se confrontam. Como estudo de caso, apresentamos a obra Subsidy do artista Joshua Schwebel, cujo foco é a realidade laboral do sector artístico no capitalismo contemporâneo., Las prácticas artísticas activistas son un medio importante de contestación e imponen desafíos al discurso hegemónico. En este artículo analizamos la subversión como estrategia de resistencia, que opera transformando el espacio institucional en una arena cultural, donde se cuestiona la hegemonía y se confrontan diferentes perspectivas. Como estudio de caso, presentamos la obra Subsidy del artista Joshua Schwebel, cuyo enfoque es la realidad laboral del sector artístico en el capitalismo contemporáneo., Artistic activism practices are an important form of protest and challenge the hegemonic discourse. In this article we analyse subversion as a resistance strategy, which operates by transforming the institutional space in a cultural arena, where hegemony is questioned and different perspectives are confronted. As a case study, we present the work Subsidy from the artist Joshua Schwebel, which questions labour relations in the arts sector in contemporary capitalism., Facultad de Artes

Nel 2018 il Brooklyn Museum di New York ha annunciato la decisione di assumere una donna bianca come curatrice della sua collezione africana provocando le reazioni nel mondo dell’attivismo. Collettivi come Decolonize This Place, da sempre impegnati per ottenere maggiore inclusione nelle istituzioni pubbliche, hanno espresso la necessità di un cambiamento delle narrazioni e delle pratiche museali, considerate ancora come fortemente etnocentriche. Questo episodio si inserisce in un più ampio fenomeno. Considerato il potenziale didattico dei musei ed il fatto che rappresentano l’ideale di libertà democratica, gli attivisti hanno tentato negli ultimi decenni di ingaggiare un confronto diretto con queste istituzioni. Attacchi sui social media, manifestazioni e lettere aperte sembrano avere in questo contesto lo stesso obiettivo: decolonizzare i musei dall’esterno. Attraverso l’analisi comparativa delle narrazioni e delle pratiche curatoriali adottate da due importanti musei anglosassoni, la Tate Modern e il Booklyn Museum, ed utilizzando la critica post-coloniale come punto di riferimento teorico, questo articolo tenta di comprendere l’impatto che il movimento degli attivisti sta avendo nel dibattito istituzionale su accessibilità e inclusione nei musei., ABside, V. 2 (2020)

Experimentation is integral to literature and art as well as to the natural sciences. The search for new artistic means of expression, the formation of a new canon and the use of new artistic materials are all based on findings obtained through experimentation. Experimentation was a key category for the modernists in particular. The difference of modern art with previous periods lies especially with its having given a new programmatic significance to experimental procedures in both the natural sciences and art. Modern artists are characterised by a stylistic pluralism as an expression of a constantly changing society, accompanied by a new understanding of art. In particular, art after 1945 gave rise to a new concept of art hardly anticipated in the traditional genres of painting and sculpture, for example. Thus “experimentation” nowadays refers to controlled, purposive action aiming at some specific goal: the invention of something new or the production of new knowledge.This quest for the new characterises modern art and in particular contemporary art in a variety of ways. While controlled artistic practices may at first glance seem to conflict with the artist’s claim to freedom, artists do indeed seek new practices that are repeatable and therefore controllable. Not everything that is contemporary is experimental. “Experimental” does not just refer to something new — experimental art rather comes from certain experimental methods. In his work Musée d’Art Moderne, Département des Aigles (1968-72) the Belgian artist and poet Marcel Broodthaers investigates a particular form of experimental art. Broodthaers’ fictional museum project provides a good basis for a study of the concept, as the artist has himself repeatedly referred to the experimental quality of his art. Indeed, our starting assumption in this essay is that this work by Broodthaers illustrates in a paradigmatic way central elements of experimentation in contemporary art of the 1960s and 70s. For example, on 16 May 1972 Broodthaers opened a section of a museum entitled The Eagle from the Oligocene to the Present in the Städtischer Kunsthalle in Düsseldorf, signing it with the following words: “Marcel Broodthaers shows an experimental exhibition of his Musée d’Art Moderne, Département des Aigles, Section des Figures”. The first part of this essay examines the experiment in which a museum with altogether twelve sections is declared to be a work of art. The second part then explicates the experiment in which an exhibition is declared to be a work of art. Finally, the third part examines the role of the viewer within Broodthaers’ artistic experiment. L’expérience fait partie intégrante des sciences naturelles, de la littérature et de l’art. La recherche de nouveaux moyens d’expression artistique, la création d’un nouveau canon ou l’utilisation de nouveaux matériaux artistiques, tout cela vient de découvertes accompagnées d’expériences. En particulier pour l’âge moderne, l’expérience est considérée comme une catégorie clé. La principale différence de l’art moderne par rapport aux époques précédentes est que dans la modernité, la signification programmatique des méthodes expérimentales dans les sciences naturelles et les arts a changé. La modernité a été marquée par le pluralisme stylistique comme expression d’une société en constante évolution et s’est accompagnée d’une nouvelle conception de l’art. Par-dessus tout, l’art d’après 1945 constitue un nouveau concept de l’art, qui ne correspond guère aux genres artistiques habituels tels que la peinture et la sculpture traditionnelles. À l’heure actuelle, l’expérience est considérée comme une action contrôlée et axée sur des buts avec un objectif principal: pour inventer de nouvelles choses ou générer de nouvelles idées. Cette quête de quelque chose de nouveau caractérise l’art moderne et surtout l’art contemporain à bien des égards. Tandis que les pratiques artistiques contrôlables semblent à première vue contredire la prétention artistique de liberté, les artistes recherchent aussi dans leurs œuvres des pratiques nouvelles, reproduisibles et donc maîtrisables. Cependant, tout ce qui est contemporain n’est pas nécessairement expérimental. Expérimental n’est pas un terme qui désigne quelque chose de nouveau en général, en revanche, l’art expérimental a été créé par certaines méthodes expérimentales. L’œuvre Musée d’Art Moderne, Département des Aigles (1968-1972) de l’artiste et poète belge Marcel Broodthaers explore une forme particulière d’art expérimental. Le projet de musée fictif de Broodthaers est un bon choix parce que l’artiste lui-même s’est souvent référé à la qualité expérimentale de son art. En fait, selon l’hypothèse initiale de cet article, l’œuvre d’art de Broodthaers montre de façon paradigmatique des éléments centraux de l’expérience de l’art contemporain des années 60 et 70. Le 16 mai 1972, par exemple, Broodthaers ouvrit au Städtische Kunsthalle de Düsseldorf un département intitulé “Der Adler vom Oligozän” et le signa ainsi: “Marcel Broodthaers présente une exposition expérimentale de son Musée d’Art Moderne, Département des Aigles, Section des Figures”. La première partie de cet essai examine l’expérience dans laquelle un musée de douze sections au total est déclaré œuvre d’art. Le second aborde ensuite l’expérience dans laquelle une exposition est déclarée œuvre d’art. Et la troisième examine le rôle du spectateur dans l’expérience artistique de Broodthaer.

El presente artículo aborda de forma crítica la complejidad de las relaciones entre arte y la educación surgidas en los proyectos que desde el ámbito del comisariado y las prácticas artísticas contemporáneas han venido desarrollándose en los últimos diez años como reacción a las políticas de corte neoliberal en la educación. En él se señalan algunas de las tensiones y los debates generados por los desarrollos prácticos y argumentales de los proyectos del giro educativo. Igualmente, se exploran algunas de las posibilidades transformadoras que se dan cuando se favorece la transversalidad y la cooperación entre equipos de educadoras críticas, artistas, comisarios y movimientos sociales, poniendo sobre la mesa las contradicciones y los antagonismos internos, se exploran los procesos de jerarquización en la producción, reproducción y distribución del conocimiento y se concibe la mediación como una fuente de investigación y producción colectiva de saberes., This article offers a critical assessment of the complexity of the relationships between art and education deriving from developing projects in curation and contemporary artistic practices over the last ten years as a reaction to neoliberal-oriented educational policies. In this sense, it identifies some of the tensions and terminological debates generated from discussions and practical developments surrounding this phenomenon. The article also explores some of the transformative possibilities arising from favouring transversal cooperation between critical pedagogues, artists, curators and social movements. It puts forward internal antagonisms and contradictions, along with the hierarchical processes involved in the production, reproduction, and distribution of knowledge, proposing mediation as a source of research and collective production of wisdom.

Hidden In Plain Sight: La Jolla / UTC Annex, An Edge-City is an inter-textual project (combining theoretical and historical inquiry with performative intervention and documentary filmmaking) that critically investigates the developmental landscape adjacent to the UCSD campus. Via a self-implicating and performative research methodology, the project endeavors to develop a reflexive counter-genealogy and counter-ontology of what Joel Garreau might identify and gleefully laud as "Edge City" in his seminal text of the same name. The project seeks to dissect an aesthetics of banality that conveniently occludes this and such landscape's interrelationship with structural, economic, and physical violence, and by effect works to preclude any resistant cultural response thereto. More broadly, the project endeavors to intervene in a process by which certain myths of progress and exceptionalism are upheld iconographically, in order to develop a new critical hermeneutics of the physical and cultural terrain in question. The illustrated document submitted sets up a specific historical and geographic terrain for the recapitulation of enacted performances. The latter functions as a set of micro-case studies-out of and against which I have developed a set of theoretical and critical positions vis-à-vis the "Technopole" / "Edge City" urban typology in a characteristically Southern Californian context.

Artykuł przedstawia analizę trzech projektów artystycznych skupionych wokół postaci Ofelii z perspektywy stref kontaktu. Koncepcja Mary Louise Pratt pozwala opisać i wyszczególnić relacje między podmiotami zachodzące w instytucjach muzeum oraz teatru. Performans Zorki Wollny Ofelie. Ikonografia szaleństwa (2012), Ja jestem Hamlet (2019) Agaty Dudy-Gracz z Teatru Nowego w Poznaniu oraz Hamlet (2008) Moniki Pęcikiewicz z Teatru Polskiego we Wrocławiu zostają tu pokazane jako przykłady krytyki instytucjonalnej, gdyż artystki za pomocą postaci Ofelii obnażają strategie władzy i wysoce asymetryczne relacje, podziały i hierarchie panujące w instytucjach. Teatr i muzeum okazują się przestrzeniami przemocy - instytucjami totalnymi, co zostaje stematyzowane we wszystkich trzech projektach. Strefa kontaktu powstała w wyniku zderzenia kobiecego podmiotu z instytucją ujawnia przemocowe mechanizmy działające w tej asymetrycznej i konfliktowej relacji.

The article analyses the media coverage of the accusations of sexual harassment and mobbing made against Henryk Jacek S., a long-time director of the Bagatela Theatre in Krakow, by its female employees. Based on the employees’ statements, the author tries to describe the situation in the theatre before the case was exposed. She refers to the category of ‘ugly feelings’, created and explored by Sianne Ngai, and specifically, to the affect of animatedness, which is characterised by particularly limited agency and the blurring of the boundary between the inside and the outside. The moment when the female employees broke the silence is associated by the author with the affect of disgust (as defined by Sara Ahmed) and the related revulsion and nausea. She also examines how this affective dynamic has influenced the women’s agency and effectiveness in relation to the recipients of their public appearances. Keywords: Bagatela Theatre; #MeToo; affect theory; media; institutional critique

* “Chó bò” is the approximate Vietnamese homonym for “trouble.” Bluntly translated, “chó~bò” is a “dog~cow” or “dog~crawl.” This absurdist linguistic joke for many Vietnamese people learning English represents a capacity to make trouble. This PhD thesis comprises original research and artistic work made with my family. As people from the Vietnamese diaspora, our experiences are formed by dispersals and estrangements as settler-colonists in Australia. Our daily encounters in the realms that this thesis is focused – contemporary art, academia, and family enterprise, are folded into distinct systems of colonial power and violence. I often make work with my family in video-performance and the documentary medium. Our inter-generational, political, and language differences add to the conceptual complexity of what it means to collaborate, make art, produce archives, and confront our position as recent settler-colonisers in Australia. This thesis aims to address how our artistic collaborations utilise linguistic and archival approaches to articulate the systemic racism we encounter as people from a refugee background, but who are also embedded in the colonial infrastructures of our new home. Aligning with thinkers including Gloria Anzaldúa and her critique of coloniality, to Gayatri Chakravorty Spivak and Hito Steyerl on minoritarian forms of translation, and Sara Ahmed on racism in the university - this thesis describes how collaborations with my family can trouble the contradictions of colonial power enacted on our human relationships. Reconnecting with individual members of my family through art, I have gained a better understanding of my language and culture, as well as finding important artistic and political connection to my peers. Collaborating with my family has forced me to rub against the researcher-participant/research subject binary, the archival visibility of being invisible, the rhetoric of institutional inclusion, and the weight of being displaced and displacing colonisers on this continent. The work we have produced together methodologically uncovers and critiques the opaque confrontations of institutional power, racism, and colonial violence embedded in the everyday. As a family, we continue to make uncomfortable pronunciations like “chó bò,” producing the epistemic trouble needed to face the colonial realities of our resettlement. ARTWORK WEBSITE: https://chobotrouble.com/

This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron’s oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven’s Enduring Ornament (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra’s rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away. Amelia Groom and M. Ty, ‘Enduring Ornament’, in Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 121-41

Artykuł opisuje przypadek #MeToo w teatrze Gardzienice w perspektywie historii tej grupy oraz w odniesieniu do (poza)instytucjonalnej formuły polskiego teatru alternatywnego