the expanded landscape
For our second edition, JAC at Barnard seeks submissions of art and art criticism, particularly work that conceptualizes the expanded landscape (representational landscapes, sociopolitical landscapes, installations as landscapes, site-specific works, netscapes, etc.). The following prompts may guide submissions, though other topics within contemporary art may also be addressed.
In a year when artist Tania Bruguera announced a bid for the Cuban presidency, we are interested in how artists’ material and sociopolitical contexts intersect, and how friction and fiction might be productive modes of institutional critique.
In his 2008 essay, philosopher Boris Groys wrote, “What differentiates contemporary art from previous times is only the fact that the originality of a work in our time is not established depending on its own form, but through its inclusion in a certain context, in a certain installation, through its topological inscription.“ Art historian Claire Bishop argued, “the best installation art is marked by a sense of antagonism towards its environment, a friction with its context that resists organisational pressure and instead exerts its own terms of engagement.”
Other “environments” may be noted in the context of diasporas. Allan deSouza, a multimedia artist, claims, “Crossing a frontier, any frontier, makes vision more complex as one retains the memory of vision from the other side. Fiction offers possibilities to grasp these multiviews, and occupy multiple spaces…”
Can work escape its sociopolitical context? How have the tasks of curators and artists merged as a result of the rise of installation art? How have contemporary artists employed the concept of frontiers to place themselves or complicate multiple spaces of experience? What are the stakes of such practices?
Submissions will be due January 24th, 2017.