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58<script type="text/json" data-set="ScaffoldingData" >{"id":0,"title":"Liam Gillick","project_url":0,"set_id":0,"is_homepage":false,"pin":false,"is_set":true,"in_nav":false,"stack":false,"sort":0,"index":0,"page_count":1,"pin_position":null,"thumbnail_options":null,"pages":[{"id":16256388,"site_id":927357,"project_url":"Liam-Gillick","direct_link":"https:\/\/liamgillick.info\/Liam-Gillick","type":"page","title":"Liam Gillick","title_no_html":"Liam Gillick","tags":"Liam Gillick, Contemporary Art","display":false,"pin":true,"pin_options":{"position":"top","overlay":true,"fixed":true,"exclude_mobile":true,"exclude_desktop":false,"accommodate":false},"in_nav":false,"is_homepage":false,"backdrop_enabled":false,"is_set":false,"stack":false,"excerpt":"LIAM GILLICK\n\nBIOGRAPHY\nTIMELINE\n\u00a0...","content":"<h1><a href=\"Liam-Gillick-1\" rel=\"history\">LIAM GILLICK<\/a><br><br><a href=\"Biography\" rel=\"history\">BIOGRAPHY<\/a><br><a href=\"Timeline\" rel=\"history\">TIMELINE<\/a>\n \n<br>\n\n<br>\n<a href=\"2026\" rel=\"history\">2026<\/a><br>\n<a href=\"2025\" rel=\"history\">2025<\/a><br>\n<a href=\"2024\" rel=\"history\">2024<\/a><br>\n<a href=\"2023\" rel=\"history\">2023<\/a><br>\n<a href=\"2022\" rel=\"history\">2022<\/a><br>\n<a href=\"2021\" rel=\"history\">2021<\/a><br>\n<a href=\"2020\" rel=\"history\">2020<\/a><br>\n<a href=\"2019\" rel=\"history\">2019<\/a><br>\n<a href=\"2018\" rel=\"history\">2018<\/a><br>\n<a href=\"2017\" rel=\"history\">2017<\/a><br>\n<a href=\"2016\" rel=\"history\">2016<\/a><br>\n<a href=\"2015\" rel=\"history\">2015<\/a><br>\n<a href=\"2014\" rel=\"history\">2014<\/a><br>\n<a href=\"2013\" rel=\"history\">2013<\/a><br>\n<a href=\"2012\" rel=\"history\">2012<\/a><br>\n<a href=\"2011\" rel=\"history\">2011<\/a><br>\n<a href=\"2010\" rel=\"history\">2010<\/a><br>\n<a href=\"2000-2009\" rel=\"history\">2000-2009<br><\/a>\n<a href=\"1987-1999\" rel=\"history\">1987-1999<\/a><br><br>\n<a href=\"Public-Works\" rel=\"history\">PUBLIC WORKS<\/a><br>\n<br>\nTEXTS BY LIAM GILLICK<br><br>\n<a href=\"What-do-you-Represent\" rel=\"history\">WHAT DO YOU REPRESENT?<\/a><br>\n<a href=\"Mountains-What-Mountains\" rel=\"history\"><\/a><a href=\"Art-and-Protest\" rel=\"history\">ART AND PROTEST: REVERSE ICONOCLASM<\/a><br><a href=\"Mountains-What-Mountains\" rel=\"history\">MOUNTAINS? WHAT MOUNTAINS?<br>SOME REFLECTIONS ON ART <br>AND PHILOSOPHY<\/a>\n<br>\n<a href=\"Should-Be-Organizational-Pathways-Restated\" rel=\"history\">SHOULD BE: ORGANIZATIONAL<br>PATHWAYS RESTATED.<br><\/a>\n<a href=\"We-Lived-and-Thought-Like-Pigs\" rel=\"history\">WE LIVED AND THOUGHT LIKE PIGS.<\/a><br>\n<a href=\"The-Complete-Curator\" rel=\"history\">THE COMPLETE CURATOR.<br><\/a><a href=\"The-Incomplete-Curator\" rel=\"history\">THE INCOMPLETE CURATOR.<\/a><br><a href=\"Industry-and-Intelligence-Intro\" rel=\"history\">\nINDUSTRY AND INTELLIGENCE.<br><\/a>\n<a href=\"Contemporary-Art-Does-Not-Account\" rel=\"history\">CONTEMPORARY ART DOES <br>\nNOT ACCOUNT FOR THAT <br>\nWHICH IS TAKING PLACE.<\/a>\n<br><a href=\"Why-Work\" rel=\"history\">WHY WORK?<br><\/a><a href=\"Prevision\" rel=\"history\">PREVISION.<\/a>\n<br><br>\nTEXTS ON LIAM GILLICK<br>\n<br>\n<a href=\"And-Why-Would-There-Be-A-Title-Nicolas-Bourriaud\" rel=\"history\">AND WHY WOULD THERE BE A TITLE?<br>\nBY NICOLAS BOURRIAUD.<br><\/a>\n\n<a href=\"Somewhere-Specific-in-Mind-Liam-Gillick-and-Suzanne-Cotter\" rel=\"history\">SOMEWHERE SPECIFIC IN MIND<br>A CONVERSATION BETWEEN <br>\nLIAM GILLICK AND SUZANNE COTTER.<\/a><br>\n<a href=\"The-Work-Life-Effect-A-small-extract-from-an-endless-exchange\" rel=\"history\">THE\nWORK LIFE EFFECT: <br>\nA SMALL EXTRACT FROM <br>\nAN ENDLESS EXCHANGE<br>\nLIAM GILLICK AND HANS ULRICH OBRIST.<br><\/a>\n<br>\n<a href=\"Books\" rel=\"history\">BOOKS<\/a> <br>\n<a href=\"Film\" rel=\"history\">FILM<\/a> <br>\n<a href=\"Links\" rel=\"history\">LINKS<\/a><\/h1><h1><a href=\"Liam-Gillick-by-Andrea-Stappert\" rel=\"history\">BY ANDREA STAPPERT<\/a><\/h1><a href=\"Liam-Gillick-by-Andrea-Stappert\" rel=\"history\">\n<\/a><h1><a href=\"Internal\" rel=\"history\">INTERNAL<\/a><br><\/h1><br><br><br>\n<br>","content_no_html":"LIAM GILLICKBIOGRAPHYTIMELINE\n
58 \n\n\n\n2026\n2025\n2024\n2023\n2022\n2021\n2020\n2019\n2018\n2017\n2016\n2015\n2014\n2013\n2012\n2011\n2010\n2000-2009\n1987-1999\nPUBLIC WORKS\n\nTEXTS BY LIAM GILLICK\nWHAT DO YOU REPRESENT?\nART AND PROTEST: REVERSE ICONOCLASMMOUNTAINS? WHAT MOUNTAINS?SOME REFLECTIONS ON ART AND PHILOSOPHY\n\nSHOULD BE: ORGANIZATIONALPATHWAYS RESTATED.\nWE LIVED AND THOUGHT LIKE PIGS.\nTHE COMPLETE CURATOR.THE INCOMPLETE CURATOR.\nINDUSTRY AND INTELLIGENCE.\nCONTEMPORARY ART DOES \nNOT ACCOUNT FOR THAT \nWHICH IS TAKING PLACE.\nWHY WORK?PREVISION.\n\nTEXTS ON LIAM GILLICK\n\nAND WHY WOULD THERE BE A TITLE?\nBY NICOLAS BOURRIAUD.\n\nSOMEWHERE SPECIFIC IN MINDA CONVERSATION BETWEEN \nLIAM GILLICK AND SUZANNE COTTER.\nTHE\nWORK LIFE EFFECT: \nA SMALL EXTRACT FROM \nAN ENDLESS EXCHANGE\nLIAM GILLICK AND HANS ULRICH OBRIST.\n\nBOOKS \nFILM \nLINKSBY ANDREA STAPPERT\nINTERNAL\n","content_partial_html":"<h1><a href=\"Liam-Gillick-1\" rel=\"history\">LIAM GILLICK<\/a><br><br><a href=\"Biography\" rel=\"history\">BIOGRAPHY<\/a><br><a href=\"Timeline\" rel=\"history\">TIMELINE<\/a>\n \n<br>\n\n<br>\n<a href=\"2026\" rel=\"history\">2026<\/a><br>\n<a href=\"2025\" rel=\"history\">2025<\/a><br>\n<a href=\"2024\" rel=\"history\">2024<\/a><br>\n<a href=\"2023\" rel=\"history\">2023<\/a><br>\n<a href=\"2022\" rel=\"history\">2022<\/a><br>\n<a href=\"2021\" rel=\"history\">2021<\/a><br>\n<a href=\"2020\" rel=\"history\">2020<\/a><br>\n<a href=\"2019\" rel=\"history\">2019<\/a><br>\n<a href=\"2018\" rel=\"history\">2018<\/a><br>\n<a href=\"2017\" rel=\"history\">2017<\/a><br>\n<a href=\"2016\" rel=\"history\">2016<\/a><br>\n<a href=\"2015\" rel=\"history\">2015<\/a><br>\n<a href=\"2014\" rel=\"history\">2014<\/a><br>\n<a href=\"2013\" rel=\"history\">2013<\/a><br>\n<a href=\"2012\" rel=\"history\">2012<\/a><br>\n<a href=\"2011\" rel=\"history\">2011<\/a><br>\n<a href=\"2010\" rel=\"history\">2010<\/a><br>\n<a href=\"2000-2009\" rel=\"history\">2000-2009<br><\/a>\n<a href=\"1987-1999\" rel=\"history\">1987-1999<\/a><br><br>\n<a href=\"Public-Works\" rel=\"history\">PUBLIC WORKS<\/a><br>\n<br>\nTEXTS BY LIAM GILLICK<br><br>\n<a href=\"What-do-you-Represent\" rel=\"history\">WHAT DO YOU REPRESENT?<\/a><br>\n<a href=\"Mountains-What-Mountains\" rel=\"history\"><\/a><a href=\"Art-and-Protest\" rel=\"history\">ART AND PROTEST: REVERSE ICONOCLASM<\/a><br><a href=\"Mountains-What-Mountains\" rel=\"history\">MOUNTAINS? WHAT MOUNTAINS?<br>SOME REFLECTIONS ON ART <br>AND PHILOSOPHY<\/a>\n<br>\n<a href=\"Should-Be-Organizational-Pathways-Restated\" rel=\"history\">SHOULD BE: ORGANIZATIONAL<br>PATHWAYS RESTATED.<br><\/a>\n<a href=\"We-Lived-and-Thought-Like-Pigs\" rel=\"history\">WE LIVED AND THOUGHT LIKE PIGS.<\/a><br>\n<a href=\"The-Complete-Curator\" rel=\"history\">THE COMPLETE CURATOR.<br><\/a><a href=\"The-Incomplete-Curator\" rel=\"history\">THE INCOMPLETE CURATOR.<\/a><br><a href=\"Industry-and-Intelligence-Intro\" rel=\"history\">\nINDUSTRY AND INTELLIGENCE.<br><\/a>\n<a href=\"Contemporary-Art-Does-Not-Account\" rel=\"history\">CONTEMPORARY ART DOES <br>\nNOT ACCOUNT FOR THAT <br>\nWHICH IS TAKING PLACE.<\/a>\n<br><a href=\"Why-Work\" rel=\"history\">WHY WORK?<br><\/a><a href=\"Prevision\" rel=\"history\">PREVISION.<\/a>\n<br><br>\nTEXTS ON LIAM GILLICK<br>\n<br>\n<a href=\"And-Why-Would-There-Be-A-Title-Nicolas-Bourriaud\" rel=\"history\">AND WHY WOULD THERE BE A TITLE?<br>\nBY NICOLAS BOURRIAUD.<br><\/a>\n\n<a href=\"Somewhere-Specific-in-Mind-Liam-Gillick-and-Suzanne-Cotter\" rel=\"history\">SOMEWHERE SPECIFIC IN MIND<br>A CONVERSATION BETWEEN <br>\nLIAM GILLICK AND SUZANNE COTTER.<\/a><br>\n<a href=\"The-Work-Life-Effect-A-small-extract-from-an-endless-exchange\" rel=\"history\">THE\nWORK LIFE EFFECT: <br>\nA SMALL EXTRACT FROM <br>\nAN ENDLESS EXCHANGE<br>\nLIAM GILLICK AND HANS ULRICH OBRIST.<br><\/a>\n<br>\n<a href=\"Books\" rel=\"history\">BOOKS<\/a> <br>\n<a href=\"Film\" rel=\"history\">FILM<\/a> <br>\n<a href=\"Links\" rel=\"history\">LINKS<\/a><\/h1><h1><a href=\"Liam-Gillick-by-Andrea-Stappert\" rel=\"history\">BY ANDREA STAPPERT<\/a><\/h1><a href=\"Liam-Gillick-by-Andrea-Stappert\" rel=\"history\">\n<\/a><h1><a href=\"Internal\" rel=\"history\">INTERNAL<\/a><br><\/h1><br><br><br>\n<br>","thumb":"","thumb_meta":null,"thumb_is_visible":false,"sort":0,"index":0,"set_id":0,"page_options":{"using_local_css":true,"pin_options":{"position":"top","overlay":true,"fixed":true,"exclude_mobile":true,"exclude_desktop":false,"accommodate":false},"local_css":"[local-style=\"16256388\"] .container_width {\n\twidth: 36% \/*!variable_defaults*\/;\n}\n\n[local-style=\"16256388\"] body {\n}\n\n[local-style=\"16256388\"] .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\n[local-style=\"16256388\"] .page {\n\tmin-height: 100vh \/*!page_height_100vh*\/;\n}\n\n[local-style=\"16256388\"] .page_background {\n\tbackground-color: rgba(255, 255, 255, 0) \/*!page_container_bgcolor*\/;\n}\n\n[local-style=\"16256388\"] .content_padding {\n\tpadding-right: 10rem \/*!main_margin*\/;\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] bodycopy {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] bodycopy a {\n\tcolor: rgb(0, 0, 0);\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] bodycopy a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] h1 {\n\tfont-size: 1.4rem;\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] h1 a {\n\tcolor: rgb(0, 0, 0);\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] h1 a:hover {color: rgba(255, 0, 0, 0.85);\n \n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] h2 {\n\tcolor: rgb(0, 0, 0);\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] h2 a {\n\tcolor: rgb(0, 0, 0);\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] h2 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] small {\n\tcolor: rgb(0, 0, 0);\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] small a {\n\tcolor: rgb(0, 0, 0);\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16256388\"] small a:hover {\n}\n\n[local-style=\"16256388\"] .container {\n\tmargin-left: 0 \/*!content_left*\/;\n\tmargin-right: auto \/*!content_left*\/;\n\talign-items: flex-start \/*!vertical_top*\/;
58\n\t-webkit-align-items: flex-start \/*!vertical_top*\/;\n}","local_layout_options":{"split_layout":false,"split_responsive":false,"full_height":true,"advanced_padding_enabled":true,"page_container_bgcolor":"rgba(255, 255, 255, 0)","show_local_thumbs":false,"page_bgcolor":"","content_width":"36","content_position":"left_cover","main_margin_right":"10"}},"set_open":false,"images":[],"backdrop":{"id":2580539,"site_id":927357,"page_id":16256388,"backdrop_id":3,"backdrop_path":"wallpaper","is_active":true,"data":{"scale_option":"cover","repeat_image":false,"image_alignment":"image_center_center","margin":0,"pattern_size":100,"limit_size":false,"overlay_color":"transparent","bg_color":"transparent","cycle_images":false,"autoplay":true,"slideshow_transition":"slide","transition_timeout":2.5,"transition_duration":1,"randomize":false,"arrow_navigation":false,"focus_object":"{}","backdrop_viewport_lock":false,"use_image_focus":"false","image":"\/\/static.cargo.site\/assets\/backdrop\/default.jpg","requires_webgl":"false"}}},{"id":16245208,"title":"Liam Gillick","project_url":"Liam-Gillick-1","set_id":0,"is_homepage":false,"pin":false,"is_set":true,"in_nav":true,"stack":true,"sort":1,"index":0,"page_count":9,"pin_position":null,"thumbnail_options":null,"pages":[{"id":16340340,"title":"Work","project_url":"Work","set_id":16245208,"is_homepage":false,"pin":false,"is_set":true,"in_nav":false,"stack":false,"sort":2,"index":0,"page_count":19,"pin_position":null,"thumbnail_options":null,"pages":[]},{"id":16253078,"title":"Texts","project_url":"Texts-1","set_id":16245208,"is_homepage":false,"pin":false,"is_set":true,"in_nav":true,"stack":false,"sort":26,"index":3,"page_count":11,"pin_position":null,"thumbnail_options":null,"pages":[{"id":16267195,"site_id":927357,"project_url":"Contemporary-Art-Does-Not-Account","direct_link":"https:\/\/liamgillick.info\/Contemporary-Art-Does-Not-Account","type":"page","title":"Contemporary Art Does Not Account","title_no_html":"Contemporary Art Does Not Account","tags":"Liam Gillick, Writing","display":true,"pin":false,"pin_options":null,"in_nav":true,"is_homepage":false,"backdrop_enabled":false,"is_set":false,"stack":false,"excerpt":"Contemporary Art Does Not Account for that Which is Taking Place\n\nLiam Gillick, 2010\n\n\n\nFirst published in E-flux Journal 21, 2010\n\nPublished in Cultures of the...","content":"Contemporary Art Does Not Account for that Which is Taking Place<br>\nLiam Gillick, 2010<br>\n<br>\nFirst published in E-flux Journal 21, 2010<br>\nPublished in Cultures of the Curatorial, Eds. Beatrice von Bismarck, <br>\nJ\u00f6rn Schafaff, Thomas Weski, Sternberg Press, Berlin, 2012<br>\n<br>The term \u201ccontemporary art\u201d is marked by an excessive usefulness. The contemporary has exceeded the specificity of the present to become inextricably linked to the growth of doubt consolidation. At the same time, it has absorbed a particular and resistant grouping of interests, all of which have become the multiple specificities of the contemporary. The tendency is for artists to deny that they are part of something that is recognized and defined by others. Frustrations here are always unique. Donald Judd did not identify himself as a minimalist. Yet \u201ccontemporary art\u201d activates denial in a specifically new way. It does not describe a practice but a general \u201cbeing in the context.\u201d<br><br>The people who leave graduate level studio programs are contemporary artists\u2014that much is clear. They represent the subjective artist operating within a terrain of the general. Yet we now find that the meaning of contemporary art is being redefined by a new art historical focus upon its products, ideas, and projections. That means we are going through a phase in which\u2014whether we like it or not\u2014it is quite likely that a new terminology and means of delineation will be proposed. It is therefore necessary\u2014for artists specifically (although never alone)\u2014to engage with this process of re-describing what gets made now. What constitutes the image of the contemporary? And what does the contemporary produce other than a complicit alongsideness?<br>\n<br>\u201cContemporary art\u201d has historically implied a specific accommodation of a loose set of open-minded economic and political values that are mutable, global, and general\u2014sufficing as an all-encompassing description of \u201cthat which is being made now\u2014wherever.\u201d But the flexibility of contemporary art as a term is no longer capable of encompassing all dynamic current art, if only because an increasing number of artists seek to radically differentiate their work from other art. In a recent essay I attempted therefore to re-term contemporary art as \u201ccurrent art,\u201d as a way of dropping the association with the contemporary of design and architecture and simply find a term that could contain the near future and recent past of engaged art production rather than an evocative post-modernististic inclusion of singular practices.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn1\">1<\/a> However, this new adjusted definition also does not suffice as a description that can effectively include all the work that is being made with the intention of resisting the flexibility of contemporary work. It is increasingly difficult to ignore the fact that the definition contemporary art has been taken up by such apparently mutually exclusive arenas as auction houses and new art history departments as a way to talk about a generalization that always finds its articulation as a specificity or set of subjectivities that no longer include those who work hard to evade its reach.<br><br>Contemporary art has become historical, a subject for academic work. The Fall 2009 issue of October magazine on the question of the contemporary tended to focus on the academicization of contemporary art while acknowledging extensively the existing unease that many artists have with being characterized within a stylistic epoch. Hal Foster noted that the magazine received very few replies from curators to his questionnaire.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn2\">2<\/a> This could be due to the October issue coinciding with the end of the usefulness of the term \u201ccontemporary art\u201d for most progressive artists and curators\u2014or at least with the reluctance of more and more to identify with it\u2014while remaining a convenient generalizing term for many institutions and exchange structures including auction houses, galleries and art history departments, all of whom are struggling to identify the implications of their use of the term\u2014some more than others, of course.<br><br>The dilemma of contemporary art, for the purposes of this text, actually refers to the peri
58od between 1973 and 2008, rather than the post-1945 definition common in Western museums. This is in an attempt to avoid what might be called the \u201clate modern\u201d period, where the legacy of modernist arguments is still the primary term of reference. By 1973 we find ourselves already operating within an institutional context of contemporary art museums and art centers while reflections on the reductive and conceptual endgames of the 1960s have given way to a new set of debates about performance, video, and institutional critique. There will follow an attempt to describe the current understanding of the term \u201ccontemporary art\u201d and the way it is deployed towards the creation of a space of inclusion and potential.<br><br>The contemporary is necessarily inclusive\u2014a generalization that has shifted towards becoming an accusation. Is there the possibility of merely saying \u201cI make work now\u201d? Contemporary art is a phrase that lends itself to being written and told without being said. It is always \u201ceveryone else.\u201d It would only work to stop saying the term if people had been saying it all along. It is as rare to hear an artist describe himself or herself as a contemporary artist as it is to hear an architect tell you that he or she is a contemporary architect. This sense of the unsaid has emphasized the role of the contemporary as a loose binding term that is always pointing away from itself rather than a term articulated and rethought from the center. That is the reason for its durability and stifling redundancy.<br><br>So what is contemporary about contemporary art? Does art itself point to the term or vice versa? What\u02bcs going on? Have people forgotten to ask artists if they are contemporary artists? One answer is that the term is a convenient generalization that does not lend itself to reflection and constant rethinking in the manner of established theoretical terms such as Postmodernism. It allows a
58separation from the act of making or doing art and the way it is then presented, explained and exchanged. Both artists and curators can find a space in the gap between these two moments where they are temporarily considering an exceptional case with every new development or addition to the contemporary inventory. Yet, an inventory of art spaces alone, for example, cannot help us find a categorization of participation within the realm of the contemporary. The question is how to categorize art today in a way that will exceed the contemporary. The inclusiveness of the contemporary is under attack, as this very inclusiveness has helped suppress a critique of what art is and more importantly what comes next. We know what comes next as things stand\u2014more contemporary art.<br><br>The installation\u2014and by association the exhibition itself\u2014is the articulation of the contemporary. Even paintings cannot escape this \u201cinstalled\u201d quality, the considered and particular installation of things and images, even when approached in a haphazard or off-hand manner. We all have an idea of what contemporary art represents while only knowing the specifics of any particular instance. It is this knowing what it means via evoking a particular that pushes people towards an attempt to transcend this generality.<br><br>There has been a proliferation of discussions and parallel practices that appear to operate in a semi-autonomous way alongside contemporary art. They ignore it or take the work of the contemporary as an example of what not to do. Recent focus upon the documentary, educational models, and engaged social collaborations have attempted to establish and describe new relationships that operate outside and in opposition to the apparently loose boundaries of the contemporary. These are engaged structures that propose limits and boundaries and take over new territories, from the curatorial to the neo-institutional, in direct opposition to the loose assumptions of the contemporary (in both its instrumentalized and capitalized forms). A good example might be the Unitednationsplaza project in Berlin. A series of discussions and lectures framed within the idea of an educational setting. While the discussions and lectures appeared to address the possibilities of art now there seemed very little anxiety about the idea of actually bypassing the production of recognizable contemporary art forms. The project itself was a melding of the curatorial, the artistic, and the academic towards the creation of a series of discursive scenarios that might defy not the commodification of art, but the absorption of everything within the authoritarian tolerance of contemporary production. The mediation of one\u2019s own practice creates moments of escape from the contemporary. Still, seeing this production of parallel knowledge creates a dilemma when it becomes the primary production of the contemporary artist. For even the \u201ceducational turn,\u201d as figures such as Irit Rogoff and Paul O\u02bcNeill have termed it, quickly produces its own coding as part of the contemporary.<br><br>Another key example of this production of nuanced contemporary aesthetics is the recent reassessment of the documentary, a tendency that must be re-examined for its claims to evade the contemporary. As Maria Lind pointed out, the documentary practices which we see now are just as articulated in terms of structure, visuality, production, and protocol as any other relevant art of today. But they tend to be less formally seductive. And yet they are as complex as some work that is known to be \u201ccomplex.\u201d The look of objectivity is not objective, just as the look of commercial materials is not necessarily commercial.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn3\">3<\/a><br><br>The most effective thing about this documentary strategy has been that the artists do not offer resistance to the contemporary by taking themselves out of the equation\u2014even when they provide the narrative for escape. There is an implicit claim to objectivity that functions here as an aggressive option of neo-objectivity in the face of co-option. Without resisting that co-option structurally it becomes merely a way of standing offstage waiting for the moment to enter.<br><br>The documentary has become a way of avoiding the problem of de-sublimation in the face of excessive sublimation. It is a semi-autonomous location where everyone lives to fight another day at least. It is a place where there is still a them and us. A protest against the contemporary by refusing to acknowledge its scope. Art in this case has been formulated as a boycott of the subjective and has built barriers in the face of continuous and constant fragmentation. At best it has made exchange visible and created a new battle over what used to be called realism. So, new consciousnesses around education and documentation provide glimmers of clarity within the inclusive terrain. Inclusion and exclusion suddenly become moments of clear choice\u2014political consciousness starts to affect the notion of specific practice. Thinking about the problem of contemporary art while producing new networks of activity that are marked by their resistance to contemporary art as a generality. It is the lack of differentiation within the contemporary that leaves it as an open speculative terrain. This is what drives the discursive and the documentary as somewhat passive yet clearly urgent oppositions.<br><br>A recent solution to the way the contemporary subdues differentiation has been to separate the notions of artistic and other political engagements, so that there can be no misunderstanding that only the work itself, in all its manifestations, might be part of the \u201ccontemporary art context.\u201d An example here would be Paul Chan, who has been described
58in biographies as an \u201cartist and activist\u201d in order to differentiate his engaged social function as a political agent from his work within galleries and museums.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn4\">4<\/a> We are aware that the activism feeds the art and the art feeds the activism, but in a distinct step away from the artists role in the shadow of conceptual art we find it is now necessary for many such as Chan to show that there is a limit or border to the embrace or effectiveness of contemporary art. Of course, there is a potential problem here in terms of how we might define activism, for example, along with the use of the documentary among progressive artists. Taking a term such as activism and combining it with an artistic practice that is clearly of the contemporary shows a tendency to associate with earlier forms of certainty. One form of a reluctant acceptance is that it is currently impossible to escape the hold of the contemporary, but it might be possible to separate life and action from contemporary art. In these cases, we continue to read the work through the hold of the contemporary in terms of what gets made but we do this via an understanding that there are these other daily social activities that are not part of the \u201ccontemporary art context\u201d\u2014they do not share its desires, projections, and results.<br><br>The contemporary is more successful within cities. It relates to the increasing deployment of contemporariness as a speculative terrain of lifestyle markers that include art. The contemporary implies a sophisticated sense of networking. Making things with an awareness of all other things. Joining a matrix of partial signifiers \u201cthat will do.\u201d The clear Oedipus complex to kill those who came before has been transformed. Relativism in this case is merely defined by context and is a non-activated neo-political consciousness. Within the contemporary there is a usefulness in all other forms of work. And there is a paradox of an anti-relativism within the subjectivity of each artist and every artwork. Yet an increasingly radical anti-relativism shared by many causes unacknowledged tensions. The contemporary is marked by a display of self-knowledge, a degree of social awareness, some tolerance, and a little bit of irony, all combined with an acknowledgment of the failure of modernism, or at least a respect for trying to come to terms with the memory of something like that.<br><br>The contemporary necessarily restricts the sense in which you are looking for a breakthrough. An attempt to work is the work itself. Unresolved is the better way, leaving a series of props that appear to work together\u2014or will do for now. In this case no single work is everything you would ever want to do. This is the space of its dynamic contradiction. Hierarchy is dysfunctional and evaded by the contemporary, and therefore key political questions, whether ignored or included, are supplemented by irony and coy relations to notions of quality.<br><br>The contemporary comes to terms with accommodation. Fundamental ideas are necessarily evaded. For the idiom of the contemporary still carries the lost memory of a democratization of skill. Its grounding principles were based on universal potential. By your nature you are it by taking the decision to announce yourself. It is easy to \u201cbe\u201d\u2014just existing through work. The process functions in reverse sometimes as a coming-into-being through work. A place in the contemporary is established by a pursuit of contemporary art\u2014not the other way around. Collective and documentary forms have attempted to escape, and to establish a hardcore, activist separation. A critique of anything and everything. There has developed a need to find a secondary ethics in order to establish a zone of difference. Tweaking tiny details and working as another character alongside the contemporary. For historically all profound \u201cisms\u201d in art were originated by artists\u2014in the case of the contemporary the artist is the originator of all subjectivities. But how can we avoid the post-contemporary becoming an historic nostalgia for the group or mere political identification?<br><br>The basic assumption of the contemporary is that all we need is a place to show\u2014to be part of and just towards the edge of contemporary art. Everyone in this zone of the exhibited becomes the exception within the tableau. This leads to project-based strategies that paper over the neurosis of the exposed. Desire and drive and motivation are sublimated. Every project-based approach creates a hypothetical method that endorses the mutable collective. Seeing clearly comb
58ined with instinct moments and always building. All contributing to a matrix of existing forms and justifying them by continued reappearance. The work always projects into the future while holding the recent past close at hand. It predicts the implications of itself and builds a bridge between the almost-known-but-half-forgotten and the soon-to-be-misunderstood. The contemporary artwork is always answering questions about itself and all other contemporary art.<br><br>It used to be said that art is like theoretical physics\u2014a specialization with a small audience. It could have been a perfect research-based existence. Yet in a world where the contemporary artist is considered cynical you never meet an artist who completely gives up. The perceived lack of audience is transformed into layers of resistance\u2014not to the work itself but to the encompassing whole. The contemporary is therefore the place of dynamic contradiction where the individual work is never more than the total effect. No singular work has more value in terms of function than any other. The discourse of contemporary art revolves around itself. It has become impossible to be outside and therefore understood in terms of a separation. There is always an interest in showing something somewhere.<br><br>Politics and biography have merged. We are all tolerant of art that is rooted in specific stories. This is the inclusive zone where the artist plays his or her own perspective for a collective purpose. The drive is towards unhooking from who you are while simultaneously becoming only yourself. Some people can sleep with their eyes open. What does this process of constantly discovering yourself actually do? Is it a push for recognition? It creates exceptional individuals of globalization\u2014\u201can aristocracy of labor,\u201d as Shuddhabrata Sengupta put it.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn5\">5<\/a><br><br>Within the slightly proven of the contemporary we are left with rankings, museum shows, money, and newness as markers of something within its institutional forms. Working continues in a flow determined by economic conditions. And the obligation is to keep defending contemporary art in general even if you find it impossible. There might be an attempt to describe the free flow of ideas within the inclusivity. Audiences create barriers and obstructions in a soft war of aesthetic tariffs that regulate flow and consensus. Tiny flows and minor disagreements mimic drive and resist the external. The painful flow of life is sublimated. Change happens to other things but not within the realm of the contemporary. Boycotting everything is no longer an option; the strikes and protests will be included, too. The system is resistant. Moving against the stream is a problem, for it goes in every direction. Neurotic work is the reward. Something will happen.<br><br>Excessive work is the contemporary struggle. Where capital is globalized it is necessary to be everywhere. Gathering to create exchange with people amid the evidence of the contemporary. For despite the fact that each language has its own rules and gaps within it we find that it is impossible to find true contradiction within these boundaries. Where would we find this gap? A hardcore perspective is always tolerated, but who\u2019s being upset and irritated? Bourgeois value and capitalism are comfortable with every iteration of the contemporary, they literally support it. The contemporary offers a specific tangent with a narrative. No longer does anyone care who did what first, the idea of the original doesn\u2019t matter. This has been a style era rather than a specific moment of change or development. At the edge of practice we only find more things to be absorbed. At the center is a mass of tiny maneuvers.<br><br>Self-consciousness constantly rebuilds this site of continuity. It is stacked with self-referential work\u2014all ready for self-aware re-reading, actions, and gestures. Certain terms have been established as a kind of lingua franca. It is a zone where it is possible to trust yourself within confusion. Learn communication skills. All the while students get smarter and recognizably different\u2014ironic in a way that levers the critical tone a little higher and eases the zone a little broader. Within this vague contemporariness people see more and more than they saw before.<br><br>That is the genius of the regime. Contemporary art is the perfect zone of deferral. No clarity can be overcomplicated when it is reproducing itself endlessly. Here we can encounter slightly different situations every day. Feuds with good men will not create a rupture here any more than the condemnation of obscenity. The problematic cannot be destroyed. Jealousy in this environment is exhausting and unproductive. Instrumentalization at the institutional level is always in place in order to defy the idea of a them and us. Why should I tell you whether what is produced is good or bad? No one can ever really understand the basis of what I\u2019m telling you. What\u02bcs readable? Tell me about your work. How many voices are in y
58our head? This has been the time of the curatorial text. In the service of many.<br><br>Current art cannot be left to idle within the contemporary as a question of taste or preferred subjectivity. There are real problems of differentiation that will be reshaped by the new academicization that the contemporary awaits. The contemporary offers a multiplicity of artists whom we hope will coalesce like one of Negri\u02bcs global tribes into a force of implicit resistance, but the contemporary creates anxieties ensuring that all operators within it are forever awaiting a specific cue for action. This is why the contemporary arena doesn\u2019t feel as if it is the place to really be starting anything, let alone a revolution. Constant and arbitrary reversal of positions has come to be expected like a nervous twitch to keep us intrigued. The contemporary displays a disruption between intentions and results, leaving a contingent gap that makes it futile to look for contradictions. The displaced is uniquely discoverable here. An inability to project into the future, to finish narratives\u2014having, by an accident of birth, missed the end of everything. Functioning on surplus energy, with a clear desire to get organized. They are about to become organized by other people\u2014instrumentalized, exchanged, and redefined by others.<br><br>Duchamp is the grandfather\u2014the ultimate contemporary artist, forefronting questions of how much to produce and when rather than what to produce, while secretly producing what could easily have been made public. This has led to an endlessly produced white noise of semi-newness linked to a general withholding of work, which is seen as an affirmative neurotic leisure. It is necessary to differentiate ways of working. Not working at all is very hard to do. So the answer is to keep working within a limited form of conceptual difficulty. Using a philosophical base is generally assumed as the critical \u201cBig Other\u201d\u2014while thinking about other art is the way to define a degree of subjectivity within the matrix.<br><br>Knowing which \u201cpersonal\u201d to occupy is of help here. We must assume that everyone is true. Trying on different personalities is forgiven within this realm. The decision to change an obligation. Burning paintings is the originating myth. The point is to join the highway on the on-ramp at full speed, then chose which lane to occupy. Slowing down or getting on or off again is difficult and undesirable. Difficulty is internal in this place, and a completely different person emerges to occupy this internal space of thought and action. The contemporary is always an internal thing that is expressed only partially on the external. It is full of ways to be misled and involves the avoidance of totalizing shifts masked by stylistic changes. History defying becomes a complete rupture. Defying history is part of the past. The regime of the contemporary becomes more and more inclusive of its own past and eternal future. Bloated and on the edge of usefulness, it reaches out endlessly in all directions. But so did the flat earth that people once believed in, and so did the endless sky of the West.<br><br>This essay was developed during a weeklong seminar at Columbia University\u2019s School of the Arts in October 2010. Special thanks to Robin Cameron and Ernst Fischer for the use of their notes of the week\u2019s work. The text was written for the book Cultures of the Curatorial (eds. Beatrice von Bismarck, J\u00f6rn Schafaff, Thomas Weski), forthcoming in 2011.<sup><\/sup>","content_no_html":"Contemporary Art Does Not Account for that Which is Taking Place\nLiam Gillick, 2010\n\nFirst published in E-flux Journal 21, 2010\nPublished in Cultures of the Curatorial, Eds. Beatrice von Bismarck, \nJ\u00f6rn Schafaff, Thomas Weski, Sternberg Press, Berlin, 2012\nThe term \u201ccontemporary art\u201d is marked by an excessive usefulness. The contemporary has exceeded the specificity of the present to become inextricably linked to the growth of doubt consolidation. At the same time, it has absorbed a particular and resistant grouping of interests, all of which have become the multiple specificities of the contemporary. The tendency is for artists to deny that they are part of something that is recognized and defined by others. Frustrations here are always unique. Donald Judd did not identify himself as a minimalist. Yet \u201ccontemporary art\u201d activates denial in a specifically new way. It does not describe a practice but a general \u201cbeing in the context.\u201dThe people who leave graduate level studio programs are contemporary artists\u2014that much is clear. They represent the subjective artist operating within a terrain of the general. Yet we now find that the meaning of contemporary art is being redefined by a new art historical focus upon its products, ideas, and projections. That means we are going through a phase in which\u2014whether we like it or not\u2014it is quite likely that a new terminology and means of delineation will be proposed. It is therefore necessary\u2014for artists specifically (although never alone)\u2014to engage with this process of re-describing what gets made now. What c
58onstitutes the image of the contemporary? And what does the contemporary produce other than a complicit alongsideness?\n\u201cContemporary art\u201d has historically implied a specific accommodation of a loose set of open-minded economic and political values that are mutable, global, and general\u2014sufficing as an all-encompassing description of \u201cthat which is being made now\u2014wherever.\u201d But the flexibility of contemporary art as a term is no longer capable of encompassing all dynamic current art, if only because an increasing number of artists seek to radically differentiate their work from other art. In a recent essay I attempted therefore to re-term contemporary art as \u201ccurrent art,\u201d as a way of dropping the association with the contemporary of design and architecture and simply find a term that could contain the near future and recent past of engaged art production rather than an evocative post-modernististic inclusion of singular practices.1 However, this new adjusted definition also does not suffice as a description that can effectively include all the work that is being made with the intention of resisting the flexibility of contemporary work. It is increasingly difficult to ignore the fact that the definition contemporary art has been taken up by such apparently mutually exclusive arenas as auction houses and new art history departments as a way to talk about a generalization that always finds its articulation as a specificity or set of subjectivities that no longer include those who work hard to evade its reach.Contemporary art has become historical, a subject for academic work. The Fall 2009 issue of October magazine on the question of the contemporary tended to focus on the academicization of contemporary art while acknowledging extensively the existing unease that many artists have with being characterized within a stylistic epoch. Hal Foster noted that the magazine received very few replies from curators to his questionnaire.2 This could be due to the October issue coinciding with the end of the usefulness of the term \u201ccontemporary art\u201d for most progressive artists and curators\u2014or at least with the reluctance of more and more to identify with it\u2014while remaining a convenient generalizing term for many institutions and exchange structures including auction houses, galleries and art history departments, all of whom are struggling to identify the implications of their use of the term\u2014some more than others, of course.The dilemma of contemporary art, for the purposes of this text, actually refers to the period between 1973 and 2008, rather than the post-1945 definition common in Western museums. This is in an attempt to avoid what might be called the \u201clate modern\u201d period, where the legacy of modernist arguments is still the primary term of reference. By 1973 we find ourselves already operating within an institutional context of contemporary art museums and art centers while reflections on the reductive and conceptual endgames of the 1960s have given way to a new set of debates about performance, video, and institutional critique. There will follow an attempt to describe the current understanding of the term \u201ccontemporary art\u201d and the way it is deployed towards the creation of a space of inclusion and potential.The contemporary is necessarily inclusive\u2014a generalization that has shifted towards becoming an accusation. Is there the possibility of merely saying \u201cI make work now\u201d? Contemporary art is a phrase that lends itself to being written and told without being said. It is always \u201ceveryone else.\u201d It would only work to stop saying the term if people had been saying it all along. It is as rare to hear an artist describe himself or herself as a contemporary artist as it is to hear an architect tell you that he or she is a contemporary architect. This sense of the unsaid has emphasized the role of the contemporary as a loose binding term that is always pointing away from itself rather than a term articulated and rethought from the center. That is the reason for its durability and stifling redundancy.So what is contemporary about contemporary art? Does art itself point to the term or vice versa? What\u02bcs going on? Have people forgotten to ask artists if they are contemporary artists? One answer is that the term is a convenient generalization that does not lend itself to reflection and constant rethinking in the manner of established theoretical terms such as Postmodernism. It allows a
58separation from the act of making or doing art and the way it is then presented, explained and exchanged. Both artists and curators can find a space in the gap between these two moments where they are temporarily considering an exceptional case with every new development or addition to the contemporary inventory. Yet, an inventory of art spaces alone, for example, cannot help us find a categorization of participation within the realm of the contemporary. The question is how to categorize art today in a way that will exceed the contemporary. The inclusiveness of the contemporary is under attack, as this very inclusiveness has helped suppress a critique of what art is and more importantly what comes next. We know what comes next as things stand\u2014more contemporary art.The installation\u2014and by association the exhibition itself\u2014is the articulation of the contemporary. Even paintings cannot escape this \u201cinstalled\u201d quality, the considered and particular installation of things and images, even when approached in a haphazard or off-hand manner. We all have an idea of what contemporary art represents while only knowing the specifics of any particular instance. It is this knowing what it means via evoking a particular that pushes people towards an attempt to transcend this generality.There has been a proliferation of discussions and parallel practices that appear to operate in a semi-autonomous way alongside contemporary art. They ignore it or take the work of the contemporary as an example of what not to do. Recent focus upon the documentary, educational models, and engaged social collaborations have attempted to establish and describe new relationships that operate outside and in opposition to the apparently loose boundaries of the contemporary. These are engaged structures that propose limits and boundaries and take over new territories, from the curatorial to the neo-institutional, in direct opposition to the loose assumptions of the contemporary (in both its instrumentalized and capitalized forms). A good example might be the Unitednationsplaza project in Berlin. A series of discussions and lectures framed within the idea of an educational setting. While the discussions and lectures appeared to address the possibilities of art now there seemed very little anxiety about the idea of actually bypassing the production of recognizable contemporary art forms. The project itself was a melding of the curatorial, the artistic, and the academic towards the creation of a series of discursive scenarios that might defy not the commodification of art, but the absorption of everything within the authoritarian tolerance of contemporary production. The mediation of one\u2019s own practice creates moments of escape from the contemporary. Still, seeing this production of parallel knowledge creates a dilemma when it becomes the primary production of the contemporary artist. For even the \u201ceducational turn,\u201d as figures such as Irit Rogoff and Paul O\u02bcNeill have termed it, quickly produces its own coding as part of the contemporary.Another key example of this production of nuanced contemporary aesthetics is the recent reassessment of the documentary, a tendency that must be re-examined for its claims to evade the contemporary. As Maria Lind pointed out, the documentary practices which we see now are just as articulated in terms of structure, visuality, production, and protocol as any other relevant art of today. But they tend to be less formally seductive. And yet they are as complex as some work that is known to be \u201ccomplex.\u201d The look of objectivity is not objective, just as the look of commercial materials is not necessarily commercial.3The most effective thing about this documentary strategy has been that the artists do not offer resistance to the contemporary by taking themselves out of the equation\u2014even when they provide the narrative for escape. There is an implicit claim to objectivity that functions here as an aggressive option of neo-objectivity in the face of co-option. Without resisting that co-option structurally it becomes merely a way of standing offstage waiting for the moment to enter.The documentary has become a way of avoiding the problem of de-sublimation in the face of excessive sublimation. It is a semi-autonomous location where everyone lives to fight another day at least. It is a place where there is still a them and us. A protest against the contemporary by refusing to acknowledge its scope. Art in this case has been formulated as a boycott of the subjective and has built barriers in the face of continuous and constant fragmentation. At best it has made exchange visible and created a new battle over what used to be called realism. So, new consciousnesses around education and documentation provide glimmers of clarity within the inclusive terrain. Inclusion and exclusion suddenly become moments of clear choice\u2014political consciousness starts to affect the notion of specific practice. Thinking about the problem of contemporary art while producing new networks of activity that are marked by their resistance to contemporary art as a generality. It is the lack of differentiation within the contemporary that leaves it as an open speculative terrain. This is what drives the discursive and the documentary as somewhat passive yet clearly urgent oppositions.A recent solution to the way the contemporary subdues differentiation has been to separate the notions of artistic and other political engagements, so that there can be no misunderstanding that only the work itself, in all its manifestations, might be part of the \u201ccontemporary art context.\u201d An example here would be Paul Chan, who has been described
58in biographies as an \u201cartist and activist\u201d in order to differentiate his engaged social function as a political agent from his work within galleries and museums.4 We are aware that the activism feeds the art and the art feeds the activism, but in a distinct step away from the artists role in the shadow of conceptual art we find it is now necessary for many such as Chan to show that there is a limit or border to the embrace or effectiveness of contemporary art. Of course, there is a potential problem here in terms of how we might define activism, for example, along with the use of the documentary among progressive artists. Taking a term such as activism and combining it with an artistic practice that is clearly of the contemporary shows a tendency to associate with earlier forms of certainty. One form of a reluctant acceptance is that it is currently impossible to escape the hold of the contemporary, but it might be possible to separate life and action from contemporary art. In these cases, we continue to read the work through the hold of the contemporary in terms of what gets made but we do this via an understanding that there are these other daily social activities that are not part of the \u201ccontemporary art context\u201d\u2014they do not share its desires, projections, and results.The contemporary is more successful within cities. It relates to the increasing deployment of contemporariness as a speculative terrain of lifestyle markers that include art. The contemporary implies a sophisticated sense of networking. Making things with an awareness of all other things. Joining a matrix of partial signifiers \u201cthat will do.\u201d The clear Oedipus complex to kill those who came before has been transformed. Relativism in this case is merely defined by context and is a non-activated neo-political consciousness. Within the contemporary there is a usefulness in all other forms of work. And there is a paradox of an anti-relativism within the subjectivity of each artist and every artwork. Yet an increasingly radical anti-relativism shared by many causes unacknowledged tensions. The contemporary is marked by a display of self-knowledge, a degree of social awareness, some tolerance, and a little bit of irony, all combined with an acknowledgment of the failure of modernism, or at least a respect for trying to come to terms with the memory of something like that.The contemporary necessarily restricts the sense in which you are looking for a breakthrough. An attempt to work is the work itself. Unresolved is the better way, leaving a series of props that appear to work together\u2014or will do for now. In this case no single work is everything you would ever want to do. This is the space of its dynamic contradiction. Hierarchy is dysfunctional and evaded by the contemporary, and therefore key political questions, whether ignored or included, are supplemented by irony and coy relations to notions of quality.The contemporary comes to terms with accommodation. Fundamental ideas are necessarily evaded. For the idiom of the contemporary still carries the lost memory of a democratization of skill. Its grounding principles were based on universal potential. By your nature you are it by taking the decision to announce yourself. It is easy to \u201cbe\u201d\u2014just existing through work. The process functions in reverse sometimes as a coming-into-being through work. A place in the contemporary is established by a pursuit of contemporary art\u2014not the other way around. Collective and documentary forms have attempted to escape, and to establish a hardcore, activist separation. A critique of anything and everything. There has developed a need to find a secondary ethics in order to establish a zone of difference. Tweaking tiny details and working as another character alongside the contemporary. For historically all profound \u201cisms\u201d in art were originated by artists\u2014in the case of the contemporary the artist is the originator of all subjectivities. But how can we avoid the post-contemporary becoming an historic nostalgia for the group or mere political identification?The basic assumption of the contemporary is that all we need is a place to show\u2014to be part of and just towards the edge of contemporary art. Everyone in this zone of the exhibited becomes the exception within the tableau. This leads to project-based strategies that paper over the neurosis of the exposed. Desire and drive and motivation are sublimated. Every project-based approach creates a hypothetical method that endorses the mutable collective. Seeing clearly comb
58ined with instinct moments and always building. All contributing to a matrix of existing forms and justifying them by continued reappearance. The work always projects into the future while holding the recent past close at hand. It predicts the implications of itself and builds a bridge between the almost-known-but-half-forgotten and the soon-to-be-misunderstood. The contemporary artwork is always answering questions about itself and all other contemporary art.It used to be said that art is like theoretical physics\u2014a specialization with a small audience. It could have been a perfect research-based existence. Yet in a world where the contemporary artist is considered cynical you never meet an artist who completely gives up. The perceived lack of audience is transformed into layers of resistance\u2014not to the work itself but to the encompassing whole. The contemporary is therefore the place of dynamic contradiction where the individual work is never more than the total effect. No singular work has more value in terms of function than any other. The discourse of contemporary art revolves around itself. It has become impossible to be outside and therefore understood in terms of a separation. There is always an interest in showing something somewhere.Politics and biography have merged. We are all tolerant of art that is rooted in specific stories. This is the inclusive zone where the artist plays his or her own perspective for a collective purpose. The drive is towards unhooking from who you are while simultaneously becoming only yourself. Some people can sleep with their eyes open. What does this process of constantly discovering yourself actually do? Is it a push for recognition? It creates exceptional individuals of globalization\u2014\u201can aristocracy of labor,\u201d as Shuddhabrata Sengupta put it.5Within the slightly proven of the contemporary we are left with rankings, museum shows, money, and newness as markers of something within its institutional forms. Working continues in a flow determined by economic conditions. And the obligation is to keep defending contemporary art in general even if you find it impossible. There might be an attempt to describe the free flow of ideas within the inclusivity. Audiences create barriers and obstructions in a soft war of aesthetic tariffs that regulate flow and consensus. Tiny flows and minor disagreements mimic drive and resist the external. The painful flow of life is sublimated. Change happens to other things but not within the realm of the contemporary. Boycotting everything is no longer an option; the strikes and protests will be included, too. The system is resistant. Moving against the stream is a problem, for it goes in every direction. Neurotic work is the reward. Something will happen.Excessive work is the contemporary struggle. Where capital is globalized it is necessary to be everywhere. Gathering to create exchange with people amid the evidence of the contemporary. For despite the fact that each language has its own rules and gaps within it we find that it is impossible to find true contradiction within these boundaries. Where would we find this gap? A hardcore perspective is always tolerated, but who\u2019s being upset and irritated? Bourgeois value and capitalism are comfortable with every iteration of the contemporary, they literally support it. The contemporary offers a specific tangent with a narrative. No longer does anyone care who did what first, the idea of the original doesn\u2019t matter. This has been a style era rather than a specific moment of change or development. At the edge of practice we only find more things to be absorbed. At the center is a mass of tiny maneuvers.Self-consciousness constantly rebuilds this site of continuity. It is stacked with self-referential work\u2014all ready for self-aware re-reading, actions, and gestures. Certain terms have been established as a kind of lingua franca. It is a zone where it is possible to trust yourself within confusion. Learn communication skills. All the while students get smarter and recognizably different\u2014ironic in a way that levers the critical tone a little higher and eases the zone a little broader. Within this vague contemporariness people see more and more than they saw before.That is the genius of the regime. Contemporary art is the perfect zone of deferral. No clarity can be overcomplicated when it is reproducing itself endlessly. Here we can encounter slightly different situations every day. Feuds with good men will not create a rupture here any more than the condemnation of obscenity. The problematic cannot be destroyed. Jealousy in this environment is exhausting and unproductive. Instrumentalization at the institutional level is always in place in order to defy the idea of a them and us. Why should I tell you whether what is produced is good or bad? No one can ever really understand the basis of what I\u2019m telling you. What\u02bcs readable? Tell me about your work. How many voices are in y
58our head? This has been the time of the curatorial text. In the service of many.Current art cannot be left to idle within the contemporary as a question of taste or preferred subjectivity. There are real problems of differentiation that will be reshaped by the new academicization that the contemporary awaits. The contemporary offers a multiplicity of artists whom we hope will coalesce like one of Negri\u02bcs global tribes into a force of implicit resistance, but the contemporary creates anxieties ensuring that all operators within it are forever awaiting a specific cue for action. This is why the contemporary arena doesn\u2019t feel as if it is the place to really be starting anything, let alone a revolution. Constant and arbitrary reversal of positions has come to be expected like a nervous twitch to keep us intrigued. The contemporary displays a disruption between intentions and results, leaving a contingent gap that makes it futile to look for contradictions. The displaced is uniquely discoverable here. An inability to project into the future, to finish narratives\u2014having, by an accident of birth, missed the end of everything. Functioning on surplus energy, with a clear desire to get organized. They are about to become organized by other people\u2014instrumentalized, exchanged, and redefined by others.Duchamp is the grandfather\u2014the ultimate contemporary artist, forefronting questions of how much to produce and when rather than what to produce, while secretly producing what could easily have been made public. This has led to an endlessly produced white noise of semi-newness linked to a general withholding of work, which is seen as an affirmative neurotic leisure. It is necessary to differentiate ways of working. Not working at all is very hard to do. So the answer is to keep working within a limited form of conceptual difficulty. Using a philosophical base is generally assumed as the critical \u201cBig Other\u201d\u2014while thinking about other art is the way to define a degree of subjectivity within the matrix.Knowing which \u201cpersonal\u201d to occupy is of help here. We must assume that everyone is true. Trying on different personalities is forgiven within this realm. The decision to change an obligation. Burning paintings is the originating myth. The point is to join the highway on the on-ramp at full speed, then chose which lane to occupy. Slowing down or getting on or off again is difficult and undesirable. Difficulty is internal in this place, and a completely different person emerges to occupy this internal space of thought and action. The contemporary is always an internal thing that is expressed only partially on the external. It is full of ways to be misled and involves the avoidance of totalizing shifts masked by stylistic changes. History defying becomes a complete rupture. Defying history is part of the past. The regime of the contemporary becomes more and more inclusive of its own past and eternal future. Bloated and on the edge of usefulness, it reaches out endlessly in all directions. But so did the flat earth that people once believed in, and so did the endless sky of the West.This essay was developed during a weeklong seminar at Columbia University\u2019s School of the Arts in October 2010. Special thanks to Robin Cameron and Ernst Fischer for the use of their notes of the week\u2019s work. The text was written for the book Cultures of the Curatorial (eds. Beatrice von Bismarck, J\u00f6rn Schafaff, Thomas Weski), forthcoming in 2011.","content_partial_html":"Contemporary Art Does Not Account for that Which is Taking Place<br>\nLiam Gillick, 2010<br>\n<br>\nFirst published in E-flux Journal 21, 2010<br>\nPublished in Cultures of the Curatorial, Eds. Beatrice von Bismarck, <br>\nJ\u00f6rn Schafaff, Thomas Weski, Sternberg Press, Berlin, 2012<br>\n<br>The term \u201ccontemporary art\u201d is marked by an excessive usefulness. The contemporary has exceeded the specificity of the present to become inextricably linked to the growth of doubt consolidation. At the same time, it has absorbed a particular and resistant grouping of interests, all of which have become the multiple specificities of the contemporary. The tendency is for artists to deny that they are part of something that is recognized and defined by others. Frustrations here are always unique. Donald Judd did not identify himself as a minimalist. Yet \u201ccontemporary art\u201d activates denial in a specifically new way. It does not describe a practice but a general \u201cbeing in the context.\u201d<br><br>The people who leave graduate level studio programs are contemporary artists\u2014that much is clear. They represent the subjective artist operating within a terrain of the general. Yet we now find that the meaning of contemporary art is being redefined by a new art historical focus upon its products, ideas, and projections. That means we are going through a phase in which\u2014whether we like it or not\u2014it is quite likely that a new terminology and means of delineation will be proposed. It is therefore necessary\u2014for artists specifically (although never alone)\u2014to engage with this process of re-describing what gets made now. What c
58onstitutes the image of the contemporary? And what does the contemporary produce other than a complicit alongsideness?<br>\n<br>\u201cContemporary art\u201d has historically implied a specific accommodation of a loose set of open-minded economic and political values that are mutable, global, and general\u2014sufficing as an all-encompassing description of \u201cthat which is being made now\u2014wherever.\u201d But the flexibility of contemporary art as a term is no longer capable of encompassing all dynamic current art, if only because an increasing number of artists seek to radically differentiate their work from other art. In a recent essay I attempted therefore to re-term contemporary art as \u201ccurrent art,\u201d as a way of dropping the association with the contemporary of design and architecture and simply find a term that could contain the near future and recent past of engaged art production rather than an evocative post-modernististic inclusion of singular practices.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn1\">1<\/a> However, this new adjusted definition also does not suffice as a description that can effectively include all the work that is being made with the intention of resisting the flexibility of contemporary work. It is increasingly difficult to ignore the fact that the definition contemporary art has been taken up by such apparently mutually exclusive arenas as auction houses and new art history departments as a way to talk about a generalization that always finds its articulation as a specificity or set of subjectivities that no longer include those who work hard to evade its reach.<br><br>Contemporary art has become historical, a subject for academic work. The Fall 2009 issue of October magazine on the question of the contemporary tended to focus on the academicization of contemporary art while acknowledging extensively the existing unease that many artists have with being characterized within a stylistic epoch. Hal Foster noted that the magazine received very few replies from curators to his questionnaire.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn2\">2<\/a> This could be due to the October issue coinciding with the end of the usefulness of the term \u201ccontemporary art\u201d for most progressive artists and curators\u2014or at least with the reluctance of more and more to identify with it\u2014while remaining a convenient generalizing term for many institutions and exchange structures including auction houses, galleries and art history departments, all of whom are struggling to identify the implications of their use of the term\u2014some more than others, of course.<br><br>The dilemma of contemporary art, for the purposes of this text, actually refers to the period between 1973 and 2008, rather than the post-1945 definition common in Western museums. This is in an attempt to avoid what might be called the \u201clate modern\u201d period, where the legacy of modernist arguments is still the primary term of reference. By 1973 we find ourselves already operating within an institutional context of contemporary art museums and art centers while reflections on the reductive and conceptual endgames of the 1960s have given way to a new set of debates about performance, video, and institutional critique. There will follow an attempt to describe the current understanding of the term \u201ccontemporary art\u201d and the way it is deployed towards the creation of a space of inclusion and potential.<br><br>The contemporary is necessarily inclusive\u2014a generalization that has shifted towards becoming an accusation. Is there the possibility of merely saying \u201cI make work now\u201d? Contemporary art is a phrase that lends itself to being written and told without being said. It is always \u201ceveryone else.\u201d It would only work to stop saying the term if people had been saying it all along. It is as rare to hear an artist describe himself or herself as a contemporary artist as it is to hear an architect tell you that he or she is a contemporary architect. This sense of the unsaid has emphasized the role of the contemporary as a loose binding term that is always pointing away from itself rather than a term articulated and rethought from the center. That is the reason for its durability and stifling redundancy.<br><br>So what is contemporary about contemporary art? Does art itself point to the term or vice versa? What\u02bcs going on? Have people forgotten to ask artists if they are contemporary artists? One answer is that the term is a convenient generalization that does not lend itself to reflection and constant rethinking in the manner of established theoretical terms such as Postmodernism. It allows a
58separation from the act of making or doing art and the way it is then presented, explained and exchanged. Both artists and curators can find a space in the gap between these two moments where they are temporarily considering an exceptional case with every new development or addition to the contemporary inventory. Yet, an inventory of art spaces alone, for example, cannot help us find a categorization of participation within the realm of the contemporary. The question is how to categorize art today in a way that will exceed the contemporary. The inclusiveness of the contemporary is under attack, as this very inclusiveness has helped suppress a critique of what art is and more importantly what comes next. We know what comes next as things stand\u2014more contemporary art.<br><br>The installation\u2014and by association the exhibition itself\u2014is the articulation of the contemporary. Even paintings cannot escape this \u201cinstalled\u201d quality, the considered and particular installation of things and images, even when approached in a haphazard or off-hand manner. We all have an idea of what contemporary art represents while only knowing the specifics of any particular instance. It is this knowing what it means via evoking a particular that pushes people towards an attempt to transcend this generality.<br><br>There has been a proliferation of discussions and parallel practices that appear to operate in a semi-autonomous way alongside contemporary art. They ignore it or take the work of the contemporary as an example of what not to do. Recent focus upon the documentary, educational models, and engaged social collaborations have attempted to establish and describe new relationships that operate outside and in opposition to the apparently loose boundaries of the contemporary. These are engaged structures that propose limits and boundaries and take over new territories, from the curatorial to the neo-institutional, in direct opposition to the loose assumptions of the contemporary (in both its instrumentalized and capitalized forms). A good example might be the Unitednationsplaza project in Berlin. A series of discussions and lectures framed within the idea of an educational setting. While the discussions and lectures appeared to address the possibilities of art now there seemed very little anxiety about the idea of actually bypassing the production of recognizable contemporary art forms. The project itself was a melding of the curatorial, the artistic, and the academic towards the creation of a series of discursive scenarios that might defy not the commodification of art, but the absorption of everything within the authoritarian tolerance of contemporary production. The mediation of one\u2019s own practice creates moments of escape from the contemporary. Still, seeing this production of parallel knowledge creates a dilemma when it becomes the primary production of the contemporary artist. For even the \u201ceducational turn,\u201d as figures such as Irit Rogoff and Paul O\u02bcNeill have termed it, quickly produces its own coding as part of the contemporary.<br><br>Another key example of this production of nuanced contemporary aesthetics is the recent reassessment of the documentary, a tendency that must be re-examined for its claims to evade the contemporary. As Maria Lind pointed out, the documentary practices which we see now are just as articulated in terms of structure, visuality, production, and protocol as any other relevant art of today. But they tend to be less formally seductive. And yet they are as complex as some work that is known to be \u201ccomplex.\u201d The look of objectivity is not objective, just as the look of commercial materials is not necessarily commercial.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn3\">3<\/a><br><br>The most effective thing about this documentary strategy has been that the artists do not offer resistance to the contemporary by taking themselves out of the equation\u2014even when they provide the narrative for escape. There is an implicit claim to objectivity that functions here as an aggressive option of neo-objectivity in the face of co-option. Without resisting that co-option structurally it becomes merely a way of standing offstage waiting for the moment to enter.<br><br>The documentary has become a way of avoiding the problem of de-sublimation in the face of excessive sublimation. It is a semi-autonomous location where everyone lives to fight another day at least. It is a place where there is still a them and us. A protest against the contemporary by refusing to acknowledge its scope. Art in this case has been formulated as a boycott of the subjective and has built barriers in the face of continuous and constant fragmentation. At best it has made exchange visible and created a new battle over what used to be called realism. So, new consciousnesses around education and documentation provide glimmers of clarity within the inclusive terrain. Inclusion and exclusion suddenly become moments of clear choice\u2014political consciousness starts to affect the notion of specific practice. Thinking about the problem of contemporary art while producing new networks of activity that are marked by their resistance to contemporary art as a generality. It is the lack of differentiation within the contemporary that leaves it as an open speculative terrain. This is what drives the discursive and the documentary as somewhat passive yet clearly urgent oppositions.<br><br>A recent solution to the way the contemporary subdues differentiation has been to separate the notions of artistic and other political engagements, so that there can be no misunderstanding that only the work itself, in all its manifestations, might be part of the \u201ccontemporary art context.\u201d An example here would be Paul Chan, who has been described
58in biographies as an \u201cartist and activist\u201d in order to differentiate his engaged social function as a political agent from his work within galleries and museums.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn4\">4<\/a> We are aware that the activism feeds the art and the art feeds the activism, but in a distinct step away from the artists role in the shadow of conceptual art we find it is now necessary for many such as Chan to show that there is a limit or border to the embrace or effectiveness of contemporary art. Of course, there is a potential problem here in terms of how we might define activism, for example, along with the use of the documentary among progressive artists. Taking a term such as activism and combining it with an artistic practice that is clearly of the contemporary shows a tendency to associate with earlier forms of certainty. One form of a reluctant acceptance is that it is currently impossible to escape the hold of the contemporary, but it might be possible to separate life and action from contemporary art. In these cases, we continue to read the work through the hold of the contemporary in terms of what gets made but we do this via an understanding that there are these other daily social activities that are not part of the \u201ccontemporary art context\u201d\u2014they do not share its desires, projections, and results.<br><br>The contemporary is more successful within cities. It relates to the increasing deployment of contemporariness as a speculative terrain of lifestyle markers that include art. The contemporary implies a sophisticated sense of networking. Making things with an awareness of all other things. Joining a matrix of partial signifiers \u201cthat will do.\u201d The clear Oedipus complex to kill those who came before has been transformed. Relativism in this case is merely defined by context and is a non-activated neo-political consciousness. Within the contemporary there is a usefulness in all other forms of work. And there is a paradox of an anti-relativism within the subjectivity of each artist and every artwork. Yet an increasingly radical anti-relativism shared by many causes unacknowledged tensions. The contemporary is marked by a display of self-knowledge, a degree of social awareness, some tolerance, and a little bit of irony, all combined with an acknowledgment of the failure of modernism, or at least a respect for trying to come to terms with the memory of something like that.<br><br>The contemporary necessarily restricts the sense in which you are looking for a breakthrough. An attempt to work is the work itself. Unresolved is the better way, leaving a series of props that appear to work together\u2014or will do for now. In this case no single work is everything you would ever want to do. This is the space of its dynamic contradiction. Hierarchy is dysfunctional and evaded by the contemporary, and therefore key political questions, whether ignored or included, are supplemented by irony and coy relations to notions of quality.<br><br>The contemporary comes to terms with accommodation. Fundamental ideas are necessarily evaded. For the idiom of the contemporary still carries the lost memory of a democratization of skill. Its grounding principles were based on universal potential. By your nature you are it by taking the decision to announce yourself. It is easy to \u201cbe\u201d\u2014just existing through work. The process functions in reverse sometimes as a coming-into-being through work. A place in the contemporary is established by a pursuit of contemporary art\u2014not the other way around. Collective and documentary forms have attempted to escape, and to establish a hardcore, activist separation. A critique of anything and everything. There has developed a need to find a secondary ethics in order to establish a zone of difference. Tweaking tiny details and working as another character alongside the contemporary. For historically all profound \u201cisms\u201d in art were originated by artists\u2014in the case of the contemporary the artist is the originator of all subjectivities. But how can we avoid the post-contemporary becoming an historic nostalgia for the group or mere political identification?<br><br>The basic assumption of the contemporary is that all we need is a place to show\u2014to be part of and just towards the edge of contemporary art. Everyone in this zone of the exhibited becomes the exception within the tableau. This leads to project-based strategies that paper over the neurosis of the exposed. Desire and drive and motivation are sublimated. Every project-based approach creates a hypothetical method that endorses the mutable collective. Seeing clearly comb
58ined with instinct moments and always building. All contributing to a matrix of existing forms and justifying them by continued reappearance. The work always projects into the future while holding the recent past close at hand. It predicts the implications of itself and builds a bridge between the almost-known-but-half-forgotten and the soon-to-be-misunderstood. The contemporary artwork is always answering questions about itself and all other contemporary art.<br><br>It used to be said that art is like theoretical physics\u2014a specialization with a small audience. It could have been a perfect research-based existence. Yet in a world where the contemporary artist is considered cynical you never meet an artist who completely gives up. The perceived lack of audience is transformed into layers of resistance\u2014not to the work itself but to the encompassing whole. The contemporary is therefore the place of dynamic contradiction where the individual work is never more than the total effect. No singular work has more value in terms of function than any other. The discourse of contemporary art revolves around itself. It has become impossible to be outside and therefore understood in terms of a separation. There is always an interest in showing something somewhere.<br><br>Politics and biography have merged. We are all tolerant of art that is rooted in specific stories. This is the inclusive zone where the artist plays his or her own perspective for a collective purpose. The drive is towards unhooking from who you are while simultaneously becoming only yourself. Some people can sleep with their eyes open. What does this process of constantly discovering yourself actually do? Is it a push for recognition? It creates exceptional individuals of globalization\u2014\u201can aristocracy of labor,\u201d as Shuddhabrata Sengupta put it.<a href=\"http:\/\/www.e-flux.com\/journal\/contemporary-art-does-not-account-for-that-which-is-taking-place\/#_ftn5\">5<\/a><br><br>Within the slightly proven of the contemporary we are left with rankings, museum shows, money, and newness as markers of something within its institutional forms. Working continues in a flow determined by economic conditions. And the obligation is to keep defending contemporary art in general even if you find it impossible. There might be an attempt to describe the free flow of ideas within the inclusivity. Audiences create barriers and obstructions in a soft war of aesthetic tariffs that regulate flow and consensus. Tiny flows and minor disagreements mimic drive and resist the external. The painful flow of life is sublimated. Change happens to other things but not within the realm of the contemporary. Boycotting everything is no longer an option; the strikes and protests will be included, too. The system is resistant. Moving against the stream is a problem, for it goes in every direction. Neurotic work is the reward. Something will happen.<br><br>Excessive work is the contemporary struggle. Where capital is globalized it is necessary to be everywhere. Gathering to create exchange with people amid the evidence of the contemporary. For despite the fact that each language has its own rules and gaps within it we find that it is impossible to find true contradiction within these boundaries. Where would we find this gap? A hardcore perspective is always tolerated, but who\u2019s being upset and irritated? Bourgeois value and capitalism are comfortable with every iteration of the contemporary, they literally support it. The contemporary offers a specific tangent with a narrative. No longer does anyone care who did what first, the idea of the original doesn\u2019t matter. This has been a style era rather than a specific moment of change or development. At the edge of practice we only find more things to be absorbed. At the center is a mass of tiny maneuvers.<br><br>Self-consciousness constantly rebuilds this site of continuity. It is stacked with self-referential work\u2014all ready for self-aware re-reading, actions, and gestures. Certain terms have been established as a kind of lingua franca. It is a zone where it is possible to trust yourself within confusion. Learn communication skills. All the while students get smarter and recognizably different\u2014ironic in a way that levers the critical tone a little higher and eases the zone a little broader. Within this vague contemporariness people see more and more than they saw before.<br><br>That is the genius of the regime. Contemporary art is the perfect zone of deferral. No clarity can be overcomplicated when it is reproducing itself endlessly. Here we can encounter slightly different situations every day. Feuds with good men will not create a rupture here any more than the condemnation of obscenity. The problematic cannot be destroyed. Jealousy in this environment is exhausting and unproductive. Instrumentalization at the institutional level is always in place in order to defy the idea of a them and us. Why should I tell you whether what is produced is good or bad? No one can ever really understand the basis of what I\u2019m telling you. What\u02bcs readable? Tell me about your work. How many voices are in y
58our head? This has been the time of the curatorial text. In the service of many.<br><br>Current art cannot be left to idle within the contemporary as a question of taste or preferred subjectivity. There are real problems of differentiation that will be reshaped by the new academicization that the contemporary awaits. The contemporary offers a multiplicity of artists whom we hope will coalesce like one of Negri\u02bcs global tribes into a force of implicit resistance, but the contemporary creates anxieties ensuring that all operators within it are forever awaiting a specific cue for action. This is why the contemporary arena doesn\u2019t feel as if it is the place to really be starting anything, let alone a revolution. Constant and arbitrary reversal of positions has come to be expected like a nervous twitch to keep us intrigued. The contemporary displays a disruption between intentions and results, leaving a contingent gap that makes it futile to look for contradictions. The displaced is uniquely discoverable here. An inability to project into the future, to finish narratives\u2014having, by an accident of birth, missed the end of everything. Functioning on surplus energy, with a clear desire to get organized. They are about to become organized by other people\u2014instrumentalized, exchanged, and redefined by others.<br><br>Duchamp is the grandfather\u2014the ultimate contemporary artist, forefronting questions of how much to produce and when rather than what to produce, while secretly producing what could easily have been made public. This has led to an endlessly produced white noise of semi-newness linked to a general withholding of work, which is seen as an affirmative neurotic leisure. It is necessary to differentiate ways of working. Not working at all is very hard to do. So the answer is to keep working within a limited form of conceptual difficulty. Using a philosophical base is generally assumed as the critical \u201cBig Other\u201d\u2014while thinking about other art is the way to define a degree of subjectivity within the matrix.<br><br>Knowing which \u201cpersonal\u201d to occupy is of help here. We must assume that everyone is true. Trying on different personalities is forgiven within this realm. The decision to change an obligation. Burning paintings is the originating myth. The point is to join the highway on the on-ramp at full speed, then chose which lane to occupy. Slowing down or getting on or off again is difficult and undesirable. Difficulty is internal in this place, and a completely different person emerges to occupy this internal space of thought and action. The contemporary is always an internal thing that is expressed only partially on the external. It is full of ways to be misled and involves the avoidance of totalizing shifts masked by stylistic changes. History defying becomes a complete rupture. Defying history is part of the past. The regime of the contemporary becomes more and more inclusive of its own past and eternal future. Bloated and on the edge of usefulness, it reaches out endlessly in all directions. But so did the flat earth that people once believed in, and so did the endless sky of the West.<br><br>This essay was developed during a weeklong seminar at Columbia University\u2019s School of the Arts in October 2010. Special thanks to Robin Cameron and Ernst Fischer for the use of their notes of the week\u2019s work. The text was written for the book Cultures of the Curatorial (eds. Beatrice von Bismarck, J\u00f6rn Schafaff, Thomas Weski), forthcoming in 2011.","thumb":"","thumb_meta":null,"thumb_is_visible":true,"sort":34,"index":7,"set_id":16253078,"page_options":{"using_local_css":true,"local_css":"[local-style=\"16267195\"] .container_width {\n}\n\n[local-style=\"16267195\"] body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\n[local-style=\"16267195\"] .backdrop {\n}\n\n[local-style=\"16267195\"] .page {\n}\n\n[local-style=\"16267195\"] .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\n[local-style=\"16267195\"] .content_padding {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] bodycopy {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] bodycopy a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] bodycopy a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] h1 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] h1 a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] h1 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] h2 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] h2 a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] h2 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] small {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] small a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"16267195\"] small a:hover {\n}","local_layout_options":{"split_layout":false,"split_responsive":false,"full_height":false,"advanced_padding_enabled":false,"page_container_bgcolor":"","show_local_thumbs":false,"page_bgcolor":""}},"set_open":false,"images":[],"backdrop":null}]},{"id":17161755,"title":"Texts on Liam Gillick","project_url":"Texts-on-Liam-Gillick","set_id":16245208,"is_homepage":false,"pin":false,"is_set":true,"in_nav":true,"stack":false,"sort":38,"index":4,"page_count":3,"pin_position":null,"thumbnail_options":null,"pages":[]}]},{"id":16381606,"site_id":927357,"project_url":"Copyright","direct_link":"https:\/\/liamg
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99 100 101 <customhtml></customhtml> 102 <div class="loading" data-loading="page"> 103 <div class="loading_animation pulsing <%= extra_class %> "> 104 <div> 105 <svg class="loading" width="500" height="500" viewBox="0 0 500 500"> 106 <path d="M495,201.19a257.61,257.61,0,0,0-14.19-47.05,260.51,260.51,0,0,0-23.17-42.9,253.09,253.09,0,0,0-69.06-68.85,245.21,245.21,0,0,0-42.88-23A227.1,227.1,0,0,0,298.88,5.26,241.81,241.81,0,0,0,249.5.31V0C111.7,0,0,111.7,0,249.5H.32a242.23,242.23,0,0,0,4.93,49.36A227.43,227.43,0,0,0,19.82,345a247.09,247.09,0,0,0,23,43,253.65,253.65,0,0,0,68.87,68.85,260.28,260.28,0,0,0,43,23.19,258.59,258.59,0,0,0,47,14.17,254.37,254.37,0,0,0,47.86,4.69V499c7.64,0,15.16-.47,22.62-1.14.88-.08,1.77-.05,2.66-.14,1.3-.13,2.56-.41,3.86-.56,6.82-.77,13.63-1.66,20.42-3A255.67,255.67,0,0,0,345.86,480a246.52,246.52,0,0,0,42.95-23.19A253.15,253.15,0,0,0,457.64,388a246.55,246.55,0,0,0,23.21-43A256.9,256.9,0,0,0,495,298.19a250.34,250.34,0,0,0,4.71-48.69A246.63,246.63,0,0,0,495,201.19ZM484.14,249.5H249.5V483.27a238.72,238.72,0,0,1-44.83-4.37,245.21,245.21,0,0,1-44-13.26,246.55,246.55,0,0,1-40.28-21.75,237.64,237.64,0,0,1-64.61-64.62,231.25,231.25,0,0,1-21.6-40.37,212.18,212.18,0,0,1-13.63-43.15,226.46,226.46,0,0,1-4.61-46.25H249.5V15.92c.2,0,.39,0,.59,0a227.57,227.57,0,0,1,45.79,4.67,212.11,212.11,0,0,1,43.79,13.26,228.85,228.85,0,0,1,40.22,21.52,237.92,237.92,0,0,1,64.82,64.6,246.65,246.65,0,0,1,21.72,40.2,243.26,243.26,0,0,1,13.28,44.09,231,231,0,0,1,4.43,45.26Z"/> 107 </svg> 108 </div> 109</div> </div> 110 111 <div 112 id="site_menu_wrapper" class=" mobile_only" 113 data-sitemenu-position="top-right" 114 data-type="cargo_menu" 115 data-set="SiteMenu" 116 data-view="SiteMenu" 117> 118 119 <a rel="site_menu" id="site_menu_button" class=""> 120 121 î±︎ 122 </a> 123 124 <div id="site_menu_panel_container" data-type="cargo_menu"><!-- empty container for site menu --></div> 125 126</div> 127 128 <a id="shop_button" rel="show_cart" href class="disabled text "> 129 </a> 130 131 <div class="main_container"> 132 133 <div data-view="pinned_top" data-set="Scaffolding" data-position="top" class="pinned pinned_top"> 134 <div class="page_container overlay fixed exclude_mobile" local-style="16256388"> 135 <div class="page container container_width clearfix" data-container="content" data-id="16256388"> 136 <bodycopy class="bodycopy content content_padding"> 137 138 139 <div class="page_content clearfix" data-elementresizer data-resize-parent> 140 <projectcontent><h1><a href="Liam-Gillick-1" rel="history">LIAM GILLICK</a><br><br><a href="Biography" rel="history">BIOGRAPHY</a><br><a href="Timeline" rel="history">TIMELINE</a> 141 142<br> 143 144<br> 145<a href="2026" rel="history">2026</a><br> 146<a href="2025" rel="history">2025</a><br> 147<a href="2024" rel="history">2024</a><br> 148<a href="2023" rel="history">2023</a><br> 149<a href="2022" rel="history">2022</a><br> 150<a href="2021" rel="history">2021</a><br> 151<a href="2020" rel="history">2020</a><br> 152<a href="2019" rel="history">2019</a><br> 153<a href="2018" rel="history">2018</a><br> 154<a href="2017" rel="history">2017</a><br> 155<a href="2016" rel="history">2016</a><br> 156<a href="2015" rel="history">2015</a><br> 157<a href="2014" rel="history">2014</a><br> 158<a href="2013" rel="history">2013</a><br> 159<a href="2012" rel="history">2012</a><br> 160<a href="2011" rel="history">2011</a><br> 161<a href="2010" rel="history">2010</a><br> 162<a href="2000-2009" rel="history">2000-2009<br></a> 163<a href="1987-1999" rel="history">1987-1999</a><br><br> 164<a href="Public-Works" rel="history">PUBLIC WORKS</a><br> 165<br> 166TEXTS BY LIAM GILLICK<br><br> 167<a href="What-do-you-Represent" rel="history">WHAT DO YOU REPRESENT?</a><br> 168<a href="Mountains-What-Mountains" rel="history"></a><a href="Art-and-Protest" rel="history">ART AND PROTEST: REVERSE ICONOCLASM</a><br><a href="Mountains-What-Mountains" rel="history">MOUNTAINS? WHAT MOUNTAINS?<br>SOME REFLECTIONS ON ART <br>AND PHILOSOPHY</a> 169<br> 170<a href="Should-Be-Organizational-Pathways-Restated" rel="history">SHOULD BE: ORGANIZATIONAL<br>PATHWAYS RESTATED.<br></a> 171<a href="We-Lived-and-Thought-Like-Pigs" rel="history">WE LIVED AND THOUGHT LIKE PIGS.</a><br> 172<a href="The-Complete-Curator" rel="history">THE COMPLETE CURATOR.<br></a><a href="The-Incomplete-Curator" rel="history">THE INCOMPLETE CURATOR.</a><br><a href="Industry-and-Intelligence-Intro" rel="history"> 173INDUSTRY AND INTELLIGENCE.<br></a>
174<a href="Contemporary-Art-Does-Not-Account" rel="history">CONTEMPORARY ART DOES <br> 175NOT ACCOUNT FOR THAT <br> 176WHICH IS TAKING PLACE.</a> 177<br><a href="Why-Work" rel="history">WHY WORK?<br></a><a href="Prevision" rel="history">PREVISION.</a> 178<br><br> 179TEXTS ON LIAM GILLICK<br> 180<br> 181<a href="And-Why-Would-There-Be-A-Title-Nicolas-Bourriaud" rel="history">AND WHY WOULD THERE BE A TITLE?<br> 182BY NICOLAS BOURRIAUD.<br></a> 183 184<a href="Somewhere-Specific-in-Mind-Liam-Gillick-and-Suzanne-Cotter" rel="history">SOMEWHERE SPECIFIC IN MIND<br>A CONVERSATION BETWEEN <br> 185LIAM GILLICK AND SUZANNE COTTER.</a><br> 186<a href="The-Work-Life-Effect-A-small-extract-from-an-endless-exchange" rel="history">THE 187WORK LIFE EFFECT: <br> 188A SMALL EXTRACT FROM <br> 189AN ENDLESS EXCHANGE<br> 190LIAM GILLICK AND HANS ULRICH OBRIST.<br></a> 191<br> 192<a href="Books" rel="history">BOOKS</a> <br> 193<a href="Film" rel="history">FILM</a> <br> 194<a href="Links" rel="history">LINKS</a></h1><h1><a href="Liam-Gillick-by-Andrea-Stappert" rel="history">BY ANDREA STAPPERT</a></h1><a href="Liam-Gillick-by-Andrea-Stappert" rel="history"> 195</a><h1><a href="Internal" rel="history">INTERNAL</a><br></h1><br><br><br> 196<br></projectcontent> 197 </div> 198 199 200 </bodycopy> 201 </div> 202 <div class="page_background"></div> 203 <style class="local-css" data-target="16256388"> 204 [local-style="16256388"] .container_width { 205 width: 36% /*!variable_defaults*/; 206} 207 208[local-style="16256388"] body { 209} 210 211[local-style="16256388"] .backdrop { 212 width: 100% /*!background_cover*/; 213} 214 215[local-style="16256388"] .page { 216 min-height: 100vh /*!page_height_100vh*/; 217} 218 219[local-style="16256388"] .page_background { 220 background-color: rgba(255, 255, 255, 0) /*!page_container_bgcolor*/; 221} 222 223[local-style="16256388"] .content_padding { 224 padding-right: 10rem /*!main_margin*/; 225} 226 227[data-predefined-style="true"] [local-style="16256388"] bodycopy { 228} 229 230[data-predefined-style="true"] [local-style="16256388"] bodycopy a { 231 color: rgb(0, 0, 0); 232} 233 234[data-predefined-style="true"] [local-style="16256388"] bodycopy a:hover { 235} 236 237[data-predefined-style="true"] [local-style="16256388"] h1 { 238 font-size: 1.4rem; 239} 240 241[data-predefined-style="true"] [local-style="16256388"] h1 a { 242 color: rgb(0, 0, 0); 243} 244 245[data-predefined-style="true"] [local-style="16256388"] h1 a:hover {color: rgba(255, 0, 0, 0.85); 246 247} 248 249[data-predefined-style="true"] [local-style="16256388"] h2 { 250 color: rgb(0, 0, 0); 251} 252 253[data-predefined-style="true"] [local-style="16256388"] h2 a { 254 color: rgb(0, 0, 0); 255} 256 257[data-predefined-style="true"] [local-style="16256388"] h2 a:hover { 258} 259 260[data-predefined-style="true"] [local-style="16256388"] small { 261 color: rgb(0, 0, 0); 262} 263 264[data-predefined-style="true"] [local-style="16256388"] small a { 265 color: rgb(0, 0, 0); 266} 267 268[data-predefined-style="true"] [local-style="16256388"] small a:hover { 269} 270 271[local-style="16256388"] .container { 272 margin-left: 0 /*!content_left*/; 273 margin-right: auto /*!content_left*/; 274 align-items: flex-start /*!vertical_top*/; 275 -webkit-align-items: flex-start /*!vertical_top*/; 276} 277 </style> 278 </div> 279 </div> 280 281 <div class="content_container"> 282 <div data-view="Content" data-set="Scaffolding"> 283 284 285 286 287 <div data-container="page" class="page_container" local-style="16267195" data-id="16267195"> 288 289 <div class="page container container_width" data-container="content" data-id="16267195"> 290 <bodycopy class="bodycopy content content_padding"> 291 292 <div class="page_content clearfix" data-elementresizer data-resize-parent> 293 <projectcontent>Contemporary Art Does Not Account for that Which is Taking Place<br> 294Liam Gillick, 2010<br> 295<br> 296First published in E-flux Journal 21, 2010<br> 297Published in Cultures of the Curatorial, Eds. Beatrice von Bismarck, <br> 298Jörn Schafaff, Thomas Weski, Sternberg Press, Berlin, 2012<br> 299<br>The term âcontemporary artâ is marked by an excessive usefulness. The contemporary has exceeded the specificity of the present to become inextricably linked to the growth of doubt consolidation. At the same time, it has absorbed a particular and resistant grouping of interests, all of which have become the multiple specificities of the contemporary. The tendency is for artists to deny that they are part of something that is recognized and defined by others. Frustrations here are always unique. Donald Judd did not identify himself as a minimalist. Yet âcontemporary artâ activates denial in a specifically new way. It does not describe a practice but a general âbeing in the context.â<br><br>The people who leave graduate level studio programs are contemporary artistsâthat much is clear. They represent the subjective artist operating within a terrain of the general. Yet we now find that the meaning of contemporary art is being redefined by a new art historical focus upon its products, ideas, and projections. That means we are going through a phase in whichâwhether we like it or notâit is quite likely that a new terminology and means of delineation will be proposed. It is therefore necessaryâfor artists specifically (although never alone)âto engage with this process of re-describing what gets made now. What c
299onstitutes the image of the contemporary? And what does the contemporary produce other than a complicit alongsideness?<br> 300<br>âContemporary artâ has historically implied a specific accommodation of a loose set of open-minded economic and political values that are mutable, global, and generalâsufficing as an all-encompassing description of âthat which is being made nowâwherever.â But the flexibility of contemporary art as a term is no longer capable of encompassing all dynamic current art, if only because an increasing number of artists seek to radically differentiate their work from other art. In a recent essay I attempted therefore to re-term contemporary art as âcurrent art,â as a way of dropping the association with the contemporary of design and architecture and simply find a term that could contain the near future and recent past of engaged art production rather than an evocative post-modernististic inclusion of singular practices.<a href="http://www.e-flux.com/journal/contemporary-art-does-not-account-for-that-which-is-taking-place/#_ftn1">1</a> However, this new adjusted definition also does not suffice as a description that can effectively include all the work that is being made with the intention of resisting the flexibility of contemporary work. It is increasingly difficult to ignore the fact that the definition contemporary art has been taken up by such apparently mutually exclusive arenas as auction houses and new art history departments as a way to talk about a generalization that always finds its articulation as a specificity or set of subjectivities that no longer include those who work hard to evade its reach.<br><br>Contemporary art has become historical, a subject for academic work. The Fall 2009 issue of October magazine on the question of the contemporary tended to focus on the academicization of contemporary art while acknowledging extensively the existing unease that many artists have with being characterized within a stylistic epoch. Hal Foster noted that the magazine received very few replies from curators to his questionnaire.<a href="http://www.e-flux.com/journal/contemporary-art-does-not-account-for-that-which-is-taking-place/#_ftn2">2</a> This could be due to the October issue coinciding with the end of the usefulness of the term âcontemporary artâ for most progressive artists and curatorsâor at least with the reluctance of more and more to identify with itâwhile remaining a convenient generalizing term for many institutions and exchange structures including auction houses, galleries and art history departments, all of whom are struggling to identify the implications of their use of the termâsome more than others, of course.<br><br>The dilemma of contemporary art, for the purposes of this text, actually refers to the period between 1973 and 2008, rather than the post-1945 definition common in Western museums. This is in an attempt to avoid what might be called the âlate modernâ period, where the legacy of modernist arguments is still the primary term of reference. By 1973 we find ourselves already operating within an institutional context of contemporary art museums and art centers while reflections on the reductive and conceptual endgames of the 1960s have given way to a new set of debates about performance, video, and institutional critique. There will follow an attempt to describe the current understanding of the term âcontemporary artâ and the way it is deployed towards the creation of a space of inclusion and potential.<br><br>The contemporary is necessarily inclusiveâa generalization that has shifted towards becoming an accusation. Is there the possibility of merely saying âI make work nowâ? Contemporary art is a phrase that lends itself to being written and told without being said. It is always âeveryone else.â It would only work to stop saying the term if people had been saying it all along. It is as rare to hear an artist describe himself or herself as a contemporary artist as it is to hear an architect tell you that he or she is a contemporary architect. This sense of the unsaid has emphasized the role of the contemporary as a loose binding term that is always pointing away from itself rather than a term articulated and rethought from the center. That is the reason for its durability and stifling redundancy.<br><br>So what is contemporary about contemporary art? Does art itself point to the term or vice versa? Whatʼs going on? Have people forgotten to ask artists if they are contemporary artists? One answer is that the term is a convenient generalization that does not lend itself to reflection and constant rethinking in the manner of established theoretical terms such as Postmodernism. It allows a
300separation from the act of making or doing art and the way it is then presented, explained and exchanged. Both artists and curators can find a space in the gap between these two moments where they are temporarily considering an exceptional case with every new development or addition to the contemporary inventory. Yet, an inventory of art spaces alone, for example, cannot help us find a categorization of participation within the realm of the contemporary. The question is how to categorize art today in a way that will exceed the contemporary. The inclusiveness of the contemporary is under attack, as this very inclusiveness has helped suppress a critique of what art is and more importantly what comes next. We know what comes next as things standâmore contemporary art.<br><br>The installationâand by association the exhibition itselfâis the articulation of the contemporary. Even paintings cannot escape this âinstalledâ quality, the considered and particular installation of things and images, even when approached in a haphazard or off-hand manner. We all have an idea of what contemporary art represents while only knowing the specifics of any particular instance. It is this knowing what it means via evoking a particular that pushes people towards an attempt to transcend this generality.<br><br>There has been a proliferation of discussions and parallel practices that appear to operate in a semi-autonomous way alongside contemporary art. They ignore it or take the work of the contemporary as an example of what not to do. Recent focus upon the documentary, educational models, and engaged social collaborations have attempted to establish and describe new relationships that operate outside and in opposition to the apparently loose boundaries of the contemporary. These are engaged structures that propose limits and boundaries and take over new territories, from the curatorial to the neo-institutional, in direct opposition to the loose assumptions of the contemporary (in both its instrumentalized and capitalized forms). A good example might be the Unitednationsplaza project in Berlin. A series of discussions and lectures framed within the idea of an educational setting. While the discussions and lectures appeared to address the possibilities of art now there seemed very little anxiety about the idea of actually bypassing the production of recognizable contemporary art forms. The project itself was a melding of the curatorial, the artistic, and the academic towards the creation of a series of discursive scenarios that might defy not the commodification of art, but the absorption of everything within the authoritarian tolerance of contemporary production. The mediation of oneâs own practice creates moments of escape from the contemporary. Still, seeing this production of parallel knowledge creates a dilemma when it becomes the primary production of the contemporary artist. For even the âeducational turn,â as figures such as Irit Rogoff and Paul OʼNeill have termed it, quickly produces its own coding as part of the contemporary.<br><br>Another key example of this production of nuanced contemporary aesthetics is the recent reassessment of the documentary, a tendency that must be re-examined for its claims to evade the contemporary. As Maria Lind pointed out, the documentary practices which we see now are just as articulated in terms of structure, visuality, production, and protocol as any other relevant art of today. But they tend to be less formally seductive. And yet they are as complex as some work that is known to be âcomplex.â The look of objectivity is not objective, just as the look of commercial materials is not necessarily commercial.<a href="http://www.e-flux.com/journal/contemporary-art-does-not-account-for-that-which-is-taking-place/#_ftn3">3</a><br><br>The most effective thing about this documentary strategy has been that the artists do not offer resistance to the contemporary by taking themselves out of the equationâeven when they provide the narrative for escape. There is an implicit claim to objectivity that functions here as an aggressive option of neo-objectivity in the face of co-option. Without resisting that co-option structurally it becomes merely a way of standing offstage waiting for the moment to enter.<br><br>The documentary has become a way of avoiding the problem of de-sublimation in the face of excessive sublimation. It is a semi-autonomous location where everyone lives to fight another day at least. It is a place where there is still a them and us. A protest against the contemporary by refusing to acknowledge its scope. Art in this case has been formulated as a boycott of the subjective and has built barriers in the face of continuous and constant fragmentation. At best it has made exchange visible and created a new battle over what used to be called realism. So, new consciousnesses around education and documentation provide glimmers of clarity within the inclusive terrain. Inclusion and exclusion suddenly become moments of clear choiceâpolitical consciousness starts to affect the notion of specific practice. Thinking about the problem of contemporary art while producing new networks of activity that are marked by their resistance to contemporary art as a generality. It is the lack of differentiation within the contemporary that leaves it as an open speculative terrain. This is what drives the discursive and the documentary as somewhat passive yet clearly urgent oppositions.<br><br>A recent solution to the way the contemporary subdues differentiation has been to separate the notions of artistic and other political engagements, so that there can be no misunderstanding that only the work itself, in all its manifestations, might be part of the âcontemporary art context.â An example here would be Paul Chan, who has been described
300in biographies as an âartist and activistâ in order to differentiate his engaged social function as a political agent from his work within galleries and museums.<a href="http://www.e-flux.com/journal/contemporary-art-does-not-account-for-that-which-is-taking-place/#_ftn4">4</a> We are aware that the activism feeds the art and the art feeds the activism, but in a distinct step away from the artists role in the shadow of conceptual art we find it is now necessary for many such as Chan to show that there is a limit or border to the embrace or effectiveness of contemporary art. Of course, there is a potential problem here in terms of how we might define activism, for example, along with the use of the documentary among progressive artists. Taking a term such as activism and combining it with an artistic practice that is clearly of the contemporary shows a tendency to associate with earlier forms of certainty. One form of a reluctant acceptance is that it is currently impossible to escape the hold of the contemporary, but it might be possible to separate life and action from contemporary art. In these cases, we continue to read the work through the hold of the contemporary in terms of what gets made but we do this via an understanding that there are these other daily social activities that are not part of the âcontemporary art contextââthey do not share its desires, projections, and results.<br><br>The contemporary is more successful within cities. It relates to the increasing deployment of contemporariness as a speculative terrain of lifestyle markers that include art. The contemporary implies a sophisticated sense of networking. Making things with an awareness of all other things. Joining a matrix of partial signifiers âthat will do.â The clear Oedipus complex to kill those who came before has been transformed. Relativism in this case is merely defined by context and is a non-activated neo-political consciousness. Within the contemporary there is a usefulness in all other forms of work. And there is a paradox of an anti-relativism within the subjectivity of each artist and every artwork. Yet an increasingly radical anti-relativism shared by many causes unacknowledged tensions. The contemporary is marked by a display of self-knowledge, a degree of social awareness, some tolerance, and a little bit of irony, all combined with an acknowledgment of the failure of modernism, or at least a respect for trying to come to terms with the memory of something like that.<br><br>The contemporary necessarily restricts the sense in which you are looking for a breakthrough. An attempt to work is the work itself. Unresolved is the better way, leaving a series of props that appear to work togetherâor will do for now. In this case no single work is everything you would ever want to do. This is the space of its dynamic contradiction. Hierarchy is dysfunctional and evaded by the contemporary, and therefore key political questions, whether ignored or included, are supplemented by irony and coy relations to notions of quality.<br><br>The contemporary comes to terms with accommodation. Fundamental ideas are necessarily evaded. For the idiom of the contemporary still carries the lost memory of a democratization of skill. Its grounding principles were based on universal potential. By your nature you are it by taking the decision to announce yourself. It is easy to âbeââjust existing through work. The process functions in reverse sometimes as a coming-into-being through work. A place in the contemporary is established by a pursuit of contemporary artânot the other way around. Collective and documentary forms have attempted to escape, and to establish a hardcore, activist separation. A critique of anything and everything. There has developed a need to find a secondary ethics in order to establish a zone of difference. Tweaking tiny details and working as another character alongside the contemporary. For historically all profound âismsâ in art were originated by artistsâin the case of the contemporary the artist is the originator of all subjectivities. But how can we avoid the post-contemporary becoming an historic nostalgia for the group or mere political identification?<br><br>The basic assumption of the contemporary is that all we need is a place to showâto be part of and just towards the edge of contemporary art. Everyone in this zone of the exhibited becomes the exception within the tableau. This leads to project-based strategies that paper over the neurosis of the exposed. Desire and drive and motivation are sublimated. Every project-based approach creates a hypothetical method that endorses the mutable collective. Seeing clearly comb
300ined with instinct moments and always building. All contributing to a matrix of existing forms and justifying them by continued reappearance. The work always projects into the future while holding the recent past close at hand. It predicts the implications of itself and builds a bridge between the almost-known-but-half-forgotten and the soon-to-be-misunderstood. The contemporary artwork is always answering questions about itself and all other contemporary art.<br><br>It used to be said that art is like theoretical physicsâa specialization with a small audience. It could have been a perfect research-based existence. Yet in a world where the contemporary artist is considered cynical you never meet an artist who completely gives up. The perceived lack of audience is transformed into layers of resistanceânot to the work itself but to the encompassing whole. The contemporary is therefore the place of dynamic contradiction where the individual work is never more than the total effect. No singular work has more value in terms of function than any other. The discourse of contemporary art revolves around itself. It has become impossible to be outside and therefore understood in terms of a separation. There is always an interest in showing something somewhere.<br><br>Politics and biography have merged. We are all tolerant of art that is rooted in specific stories. This is the inclusive zone where the artist plays his or her own perspective for a collective purpose. The drive is towards unhooking from who you are while simultaneously becoming only yourself. Some people can sleep with their eyes open. What does this process of constantly discovering yourself actually do? Is it a push for recognition? It creates exceptional individuals of globalizationââan aristocracy of labor,â as Shuddhabrata Sengupta put it.<a href="http://www.e-flux.com/journal/contemporary-art-does-not-account-for-that-which-is-taking-place/#_ftn5">5</a><br><br>Within the slightly proven of the contemporary we are left with rankings, museum shows, money, and newness as markers of something within its institutional forms. Working continues in a flow determined by economic conditions. And the obligation is to keep defending contemporary art in general even if you find it impossible. There might be an attempt to describe the free flow of ideas within the inclusivity. Audiences create barriers and obstructions in a soft war of aesthetic tariffs that regulate flow and consensus. Tiny flows and minor disagreements mimic drive and resist the external. The painful flow of life is sublimated. Change happens to other things but not within the realm of the contemporary. Boycotting everything is no longer an option; the strikes and protests will be included, too. The system is resistant. Moving against the stream is a problem, for it goes in every direction. Neurotic work is the reward. Something will happen.<br><br>Excessive work is the contemporary struggle. Where capital is globalized it is necessary to be everywhere. Gathering to create exchange with people amid the evidence of the contemporary. For despite the fact that each language has its own rules and gaps within it we find that it is impossible to find true contradiction within these boundaries. Where would we find this gap? A hardcore perspective is always tolerated, but whoâs being upset and irritated? Bourgeois value and capitalism are comfortable with every iteration of the contemporary, they literally support it. The contemporary offers a specific tangent with a narrative. No longer does anyone care who did what first, the idea of the original doesnât matter. This has been a style era rather than a specific moment of change or development. At the edge of practice we only find more things to be absorbed. At the center is a mass of tiny maneuvers.<br><br>Self-consciousness constantly rebuilds this site of continuity. It is stacked with self-referential workâall ready for self-aware re-reading, actions, and gestures. Certain terms have been established as a kind of lingua franca. It is a zone where it is possible to trust yourself within confusion. Learn communication skills. All the while students get smarter and recognizably differentâironic in a way that levers the critical tone a little higher and eases the zone a little broader. Within this vague contemporariness people see more and more than they saw before.<br><br>That is the genius of the regime. Contemporary art is the perfect zone of deferral. No clarity can be overcomplicated when it is reproducing itself endlessly. Here we can encounter slightly different situations every day. Feuds with good men will not create a rupture here any more than the condemnation of obscenity. The problematic cannot be destroyed. Jealousy in this environment is exhausting and unproductive. Instrumentalization at the institutional level is always in place in order to defy the idea of a them and us. Why should I tell you whether what is produced is good or bad? No one can ever really understand the basis of what Iâm telling you. Whatʼs readable? Tell me about your work. How many voices are in y
300our head? This has been the time of the curatorial text. In the service of many.<br><br>Current art cannot be left to idle within the contemporary as a question of taste or preferred subjectivity. There are real problems of differentiation that will be reshaped by the new academicization that the contemporary awaits. The contemporary offers a multiplicity of artists whom we hope will coalesce like one of Negriʼs global tribes into a force of implicit resistance, but the contemporary creates anxieties ensuring that all operators within it are forever awaiting a specific cue for action. This is why the contemporary arena doesnât feel as if it is the place to really be starting anything, let alone a revolution. Constant and arbitrary reversal of positions has come to be expected like a nervous twitch to keep us intrigued. The contemporary displays a disruption between intentions and results, leaving a contingent gap that makes it futile to look for contradictions. The displaced is uniquely discoverable here. An inability to project into the future, to finish narrativesâhaving, by an accident of birth, missed the end of everything. Functioning on surplus energy, with a clear desire to get organized. They are about to become organized by other peopleâinstrumentalized, exchanged, and redefined by others.<br><br>Duchamp is the grandfatherâthe ultimate contemporary artist, forefronting questions of how much to produce and when rather than what to produce, while secretly producing what could easily have been made public. This has led to an endlessly produced white noise of semi-newness linked to a general withholding of work, which is seen as an affirmative neurotic leisure. It is necessary to differentiate ways of working. Not working at all is very hard to do. So the answer is to keep working within a limited form of conceptual difficulty. Using a philosophical base is generally assumed as the critical âBig Otherââwhile thinking about other art is the way to define a degree of subjectivity within the matrix.<br><br>Knowing which âpersonalâ to occupy is of help here. We must assume that everyone is true. Trying on different personalities is forgiven within this realm. The decision to change an obligation. Burning paintings is the originating myth. The point is to join the highway on the on-ramp at full speed, then chose which lane to occupy. Slowing down or getting on or off again is difficult and undesirable. Difficulty is internal in this place, and a completely different person emerges to occupy this internal space of thought and action. The contemporary is always an internal thing that is expressed only partially on the external. It is full of ways to be misled and involves the avoidance of totalizing shifts masked by stylistic changes. History defying becomes a complete rupture. Defying history is part of the past. The regime of the contemporary becomes more and more inclusive of its own past and eternal future. Bloated and on the edge of usefulness, it reaches out endlessly in all directions. But so did the flat earth that people once believed in, and so did the endless sky of the West.<br><br>This essay was developed during a weeklong seminar at Columbia Universityâs School of the Arts in October 2010. Special thanks to Robin Cameron and Ernst Fischer for the use of their notes of the weekâs work. The text was written for the book Cultures of the Curatorial (eds. Beatrice von Bismarck, Jörn Schafaff, Thomas Weski), forthcoming in 2011.<sup></sup></projectcontent> 301 </div> 302 303 304 </bodycopy> 305 </div> 306 307 <div class="page_background"></div> 308 309 <style class="local-css" data-target="16267195"> 310 [local-style="16267195"] .container_width { 311} 312 313[local-style="16267195"] body { 314 background-color: initial /*!variable_defaults*/; 315} 316 317[local-style="16267195"] .backdrop { 318} 319 320[local-style="16267195"] .page { 321} 322 323[local-style="16267195"] .page_background { 324 background-color: initial /*!page_container_bgcolor*/; 325} 326 327[local-style="16267195"] .content_padding { 328} 329 330[data-predefined-style="true"] [local-style="16267195"] bodycopy { 331} 332 333[data-predefined-style="true"] [local-style="16267195"] bodycopy a { 334} 335 336[data-predefined-style="true"] [local-style="16267195"] bodycopy a:hover { 337} 338 339[data-predefined-style="true"] [local-style="16267195"] h1 { 340} 341 342[data-predefined-style="true"] [local-style="16267195"] h1 a { 343} 344 345[data-predefined-style="true"] [local-style="16267195"] h1 a:hover { 346} 347 348[data-predefined-style="true"] [local-style="16267195"] h2 { 349} 350 351[data-predefined-style="true"] [local-style="16267195"] h2 a { 352} 353 354[data-predefined-style="true"] [local-style="16267195"] h2 a:hover { 355} 356 357[data-predefined-style="true"] [local-style="16267195"] small { 358} 359 360[data-predefined-style="true"] [local-style="16267195"] small a { 361} 362 363[data-predefined-style="true"] [local-style="16267195"] small a:hover { 364} 365 </style> 366 </div> 367 368 369</div> 370 371<div data-autopaginate></div><div data-view="Thumbnail" data-set="GlobalThumbnails" class="thumbnails"> 372 <div class="container thumbnails_width clearfix"> 373 <div class="content content_padding"> 374 <div class="thumbnails"> 375 </div> 376 </div> 377 </div></div> 378 </div> 379 380 <div data-view="pinned_bottom" data-set="Scaffolding" data-position="bottom" class="pinned pinned_bottom"> 381 <div class="page_container overlay fixed" local-style="16381606"> 382 <div class="page container container_width clearfix" data-container="content" data-id="16381606"> 383 <bodycopy class="bodycopy content content_padding"> 384 385 386 <div class="page_content clearfix" data-elementresizer data-resize-parent> 387 <projectcontent><h1>© Liam Gillick 2026<br></h1></projectcontent> 388 </div> 389 390 391 </bodycopy> 392 </div> 393 <div class="page_background"></div> 394 <style class="local-css" data-target="16381606"> 395 [local-style="16381606"] .container_width { 396 width: 100% /*!variable_defaults*/; 397} 398 399[local-style="16381606"] body { 400 background-color: initial /*!variable_defaults*/; 401} 402 403[local-style="16381606"] .backdrop { 404} 405 406[local-style="16381606"] .page { 407} 408 409[local-style="16381606"] .page_background { 410 background-color: initial /*!page_container_bgcolor*/; 411} 412 413[local-style="16381606"] .content_padding { 414} 415 416[data-predefined-style="true"] [local-style="16381606"] bodycopy { 417} 418 419[data-predefined-style="true"] [local-style="16381606"] bodycopy a { 420} 421 422[data-predefined-style="true"] [local-style="16381606"] bodycopy a:hover { 423} 424 425[data-predefined-style="true"] [local-style="16381606"] h1 { 426 color: rgba(123, 122, 122, 0.85); 427} 428 429[data-predefined-style="true"] [local-style="16381606"] h1 a { 430} 431 432[data-predefined-style="true"] [local-style="16381606"] h1 a:hover { 433} 434 435[data-predefined-style="true"] [local-style="16381606"] h2 { 436} 437 438[data-predefined-style="true"] [local-style="16381606"] h2 a { 439} 440 441[data-predefined-style="true"] [local-style="16381606"] h2 a:hover { 442} 443 444[data-predefined-style="true"] [local-style="16381606"] small { 445} 446 447[data-predefined-style="true"] [local-style="16381606"] small a { 448} 449 450[data-predefined-style="true"] [local-style="16381606"] small a:hover { 451} 452 </style> 453 </div> 454 </div> 455 456 </div> 457 458 <div data-content-ruler class="container container_width"></div> 459 460 461 </body> 462</html>
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