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InsatiableChelsea College of Art & Design, London Friday 19 October 2012

As part of Critical Practice I helped facilitate Insatiable a symposium to critically examine the conflicted idea of sustainable growth and to envision alternatives.

Insatiable is an exchange between Art, Economics and Ecology. Each of the fields is contested and constantly changing, and the relationships between them are ambiguous and paradoxical. While the symposium offers a critical focus on ‘sustainable growth’, we aim to move beyond critique towards guidelines for creative action.

As a global centre for contemporary art and finance, London is a unique context in which to consider the conflicted idea of ‘sustainable growth’. Decades of constant economic expansion have overwritten considerations of ecological sustainability, even human survival.

V&A BicentenaryI made a presentation as part of: Artists Work in Museums: Histories, Interventions and Subjectivities

Friday 12th and Saturday 13th October 2012
at the V&A Museum, London

This two-day conference brings together artists, curators, historians and museum professionals to explore the history and impact of artists working in/with or against museums. The conference will explore the diverse, often hidden ways museums function as environments of cultural and identity production.

Ms Chan

Museum Futures is exhibited as part of Modern Monsters / Death and Life of Fiction

Taipei Biennial 29th September 2012 –  13th February 2013

Curated by Anselm Franke

The Taipei Biennial 2012 takes as its point of departure the ancient Chinese monster known as Taowu, whose evolution has been traced by the literary historian David Der-Wei Wang in his book The Monster That is History. Wang shows that somewhere in the course of Chinese history, writers and historians began to identify the vicious monster Taowu with history itself, since it could foresee and thwart human intentions. Wang suggests that it is modern Chinese history in particular that lends itself to a reading through the Taowu, against the backdrop of a twentieth century characterized by utopian aspirations notoriously overshadowed by systemic violence.

 

As part of Critical Practice....

Truth Truth is Concrete

 

Longest Day

 

Twenty two years ago I made a recycled cardboard version of Picasso's Still Life of 1914.

#TheMostBeautifulSculptureInTheWorld

As part of Critical Practice.......

God, Law & Property

 

Where: London, EC2


Why: This event initiates a series of walking tours and events that constitute Critical Practice's ongoing Research on Value 

Longest Day

 

I spent the beautiful summer solstice on the playa de Nora, Asturias, Spain.

I contributed to

Questions of Value - From Commons to Communomics: Resisting Privatization

 

Someone has to do it. If we are to think through structures of evaluation, even momentarily, we have to grapple with money. Money represents only %2 of the financial value in circulation, and yet nestles in every pocket, purse or consciousness. Nationally denominated monies – that store, easily transfer and index wealth - have overwritten alternatives. I’m learning to invest in the future, and to speculate. A future for money will explore micro-currencies that circulate value in specific communities, to resist State expropriation. And macro-monies, commons based currencies emerging in networks of trust, coproduction and abundance that existed before, and will flourish again, as faith in States and their currencies, evaporate.

Sculpture classWe began, students, staff, experts and others as Exhibition Experiments. The initial idea was, through collaboration and practice based research, to trace a history of radical exhibitions, and make an exhibition. Through weekly seminars, workshops and events our project morphed into prospectus, as our interests incorporated art education, and our own experiences of trying to perform it. 

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Forsythe's  dance soloBarn doors, RiocalienteBat-eared kittenAngel MoneyRoof AccessBasia