Are collectives dependent on institutions?
Narrowing the collective to its relation with art institutions and “artworld systems” posits the latter as ultimate signifiers.
Narrowing the collective to its relation with art institutions and “artworld systems” troubles me. It posits the latter as ultimate signifiers, and confirms the insularity of these art “worlds.” Beyond my mistrust for isolated identities, such insularity precludes any form of agency of art in the world at large.
Exclusive to the Magazine
Are collectives dependent on institutions? by Alexis Destoop is featured in full in Issue 2 of Memo magazine.
Get your hands on the print edition through our online shop or save up to 20% and get free domestic shipping with a subscription.
Related

Derek Jarman’s Blue (1993) is a film without images—just a luminous ultramarine field and an evocative soundtrack. Made as he was dying of AIDS-related illness, Blue resists spectacle, embracing abstraction, memory, and loss. Thirty years on, it continues to evolve, expanding across artists, mediums, and generations.

Archie Moore’s minimalism plays a formalist trick on a settler audience that sees only an Aboriginal flag, never the painting itself.

Bridging memory work and the uncanny, Tieu’s exhibition confronts Germany’s buried xenophobia through slippery visual and sonic signifiers that elude any stable index.
