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More things can happen than will, or have

Composite transcript CompDoc 25-96473fz36-3541 (fragments): Chelsea centenary celebrations 2063. See the original document

– live thread recall Prof. Neil Cummings

Neil Cummings

 

 

[....]

And then, in 2’31, in the blink of an eye, the spectacular roller-coaster ride of the Guggenheim Foundation was over. The Guggenheim Abu Dhabi, the cluster in New York, Venice, Bilbao Helsinki, and the Deutsche – Guggenheim in Berlin, in Shanghai and Rio, together with the unfinished project in Moscow, were all taken into UN-Multitude stewardship.

The demise of the Guggenheim, the concomitant collapse of the Singularity market , forced other private museums into stewardship.

They all filed for Chapter 12 protection.

It was a spectacular reverse of resource flows, tens of thousands of art works poured into public collections from previously private institutions.

An ethic of public generosity was re-animated, even encouraged.

Everyone benefited.

ExchangeI contributed a version of Generosity to Ends Meet: Essays on Exchange, a publication developed by Critical Writing students at th

Platform PublicationAt 6.30, on the 19th June, at Chelsea College of Arts, as part of the Chelsea Clusters centenary celebrations, Prof. Neil Cummings will perform a live-thread recall.

Highlights will obviously include; 2’56 when the clusters sponsored article, Article 39 was added to the UN-Multitude Declaration of Human Rights, 2’54 when Composite went live, the first Simpatia Building in Fortaleza in 2’39, the new nodes in Brazil, regions in the Indian Multitude, and West Africa, 2’25 legendary Ex Habere: The Practice of Exhibition research project, Chelsea’s devolution from the UAL, the impact of the Art Auction Transaction Tax, and much, much else besides.

 

See the original document (CompDoc 25-96473fz36-3541), read the complete transcript, or see the beautiful accompanying publication More things can happen than will, or have designed by Metod Blejec, it contains the narrative architecture.

Truth is ConcreteI contributed a text Generosity to Truth is Concrete, a publication launched on 26th April 2014.

Truth is Concrete was emblazoned over Bertolt Brecht’s desk while in exile in Denmark, a constant reminder in times of extreme social turbulence to remember political reality.

How can art play a role in social and political struggles? 

Can it be a tool to shape the world, rather than a mere reflection?

Following Steirischer Herbst festival’s twenty-four hour, seven-day marathon camp, Truth is Concrete: A Handbook for Artistic Strategies in Real Politics takes the possibility of concrete truth as a working hypothesis for both art and activism, and looks for direct action and concrete knowledge. In art practices that engage performatively in specific political and social situations, and activism that searches for intelligent, creative means of self-empowerment.

Printed MatterI contributed to PROSPECTUS a beautiful publication edited by Verina Gfader & John Reardon. 

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