Enviado por aarquivista, qui, 2016-01-28 09:11


{da intro do texto}

 "I began to use the concept of 'self-institutionalisa-
"tion'  during 1998 and 1999 in relation to the establishment
with Henriette Heise of a project space, Info
Centre, in East London (see review in AM224 ). For us
 this was the start of a series of practical experiments
with the construction and use of institutions. Info
Centre was a combined exhibition space, archive and
bookshop. The first 'info sheet' of the Info Centre
stated: 'We are committed to an understanding of art
practice that is not exclusively related to the making of
art works, but also includes the establishing of institutions
for the experience and use of art and generally the
making of institutions for human life.'
Behind this point of view lay an uneasiness with the
then pervasive notion of 'institutional critique'. What
had began life in the 6os as an interesting new political
practice and what had reappeared in the late 8os as an
ideological critique, had by the late 9os  become ossified
into a reflex towards, rather than a passionate refusal
of, power. The various modes of institutional critique
had outlived any critical function and appeared increasingly
blind to its social, historical and political context.
The moments of revolution and renewal you find with
early Conceptual Art and the Situationist International
had disappeared.
 The institutional critique had lost its force as art institutions adapted to these new forms of
critique - as capital and its institutions often do. Those
practising institutional critique found themselves
dependent upon the very historical bourgeois art institutions
they were purporting to critique, and that were,
anyway, in the process of disappearing in the course of
the neoliberal restructuring of public institutions of the
9os. The critique was irredeemably complicit with
 institutions as they turned critique into new forms of
spectacle. When we write 'art institution' we refer to the
sodo-economic conglomerate of galleries, foundations,
museums, institutes, educational facilities, magazines
and councils that constitute the basis of the dominating
understanding of art in a society. Institutional critique
and other anti-institutional practices of the late 9os  did
not make these institutions more diverse and rich, but
instead ensured the consolidation and concentration of
power within an ever-narrowing system. (...)"



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