Nato Thompson - LeisureArts - Conspiracy?

Nato Thompson in an interview here:

Fuck professionalism (this coming from a curator). And fuck these easy, dorky categories. Is it art? Is it activism? Those questions are dangerous and misleading. How about questions like: Who is this for? What does it do? In what manner does it operate in a social structure? I mean if we contextualize the manner and receiving culture of a given practice, the questions become simpler and more fun to ask.

LeisureArts in a post here:

"Art or not art? It's a debate art critics love to have, but one we think is somewhat trivial. What new generative social possibilities do these activities create? How do they interface with broad political and philosophical themes? Are they fun? These are questions that seem infinitely more useful than, how they function "as art."

Some LeisureArts fillips

Shasta College now offers LeisureArts courses.

Spout offers films in the LeisureArts genre.

Spun offers LeisureArts as a genre as well.

The Florida 4-H offers curriculum and project guides in the LeisureArts category.

Interlochen Center for the Arts has seen fit to hire a Coordinator of LeisureArts.

The Spruill Center for the Arts has a LeisureArts department.

The New Hamburg Fall Fair has a LeisureArts competition category - we're especially fond of the "Udderly Ridiculous" subcategory.

The Perfect Valentine's Day Gift?

Gregory Sholette - Creative Dark Matter - Carlos Basualdo

The panel discussion "Dark matter into light" focuses on an exhibition (Cram Sessions: 02 Dark Matter at the Baltimore Museum of Art organized by Chris Gilbert) of creative "dark matter" as Gregory Sholette calls it. We've written about Sholette before and found this discussion to be of some interest.
Gilbert summarizes the terrain of Sholette's dark matter as:
"home-crafts, makeshift memorials, Internet art galleries, amateur photography and pornography, Sunday-painters, self-published newsletters and fan-zines" as well as "artists who self-consciously work outside and/or against the parameters of the mainstream art world for reasons of political and social critique."

This is a fairly adequate summary of what we intend "infra-institutional" to mean in our self-description. The discussion highlights many of the paradoxes of making such activities public. One of the biggest challenges for people engaged in such activities (or at least the ones who have a critical relationship to their "production") is finding the appropriate venue. We have written extensively about many people finding themselves in the art world by default rather than design. Curators, critics, historians, and the practitioners themselves, have yet to develop the proper intellectual tools for the job, or as Carlos Basualdo put it:
"For while we do have a highly sophisticated vocabulary to talk about art objects and about those objects in relationship to a certain genealogy of other objects and actions to which they are related, it is more difficult to talk about these artists and groups that, although they do not seem to completely reject the museum and gallery space and although they sometimes exhibit the results of their work in these spaces, ultimately don't produce art objects in the traditional sense. I think that one of the challenges for the curators who are trying to deal with that situation, with that schism, and with these new forms of production is to develop a critical vocabulary of some sort that is still related to the art-historical legacy, that accounts for those works that ultimately do not quite fit within the parameters of traditional art history. A vocabulary that would itself mediate between the demands of these evolving practices and the information contained in the art-historical discourse."

Without this new vocabulary, we find ourselves forced to utilize spaces, terms, and modes of display that aren't appropriate to the activities being presented. We are continually caught in theoretical digressions that only come into play because creative dark matter so often finds itself recognized in the most facile ways by the institutions of the art world. This is best exemplified perhaps, by the profusion of "social practices" which so often treat the field of dark matter merely as a thematic. What could be a radical perspective on the very idea of art production (dark matter), too often exists merely as an internal critique. For more on this notion, see the posts Baudrillard - LeisureArts - Labor/Value and Baudrillard - "as art" relational art - Kaprow.

This is not an art blog [for PiL]

This is not an art blog

This is not an art blog
This is not a
n art blog
This is not an art blog
This is not an art blog
This is not an art blog
This is not an art blog
This is not an art blog

Happy to have not to have not
Big business is very wise
We're crossing over into E-enter prize
This is not
an art blog
Art blog
Art blog

We're going over to the other side
We're happy to have not to have not
Big business is very wise
We're inside free enterprise
This is not an art blog...

We're adaptable
We're adaptable

We're adaptable and we like our role
We're getting better and better
And we have a new goal
We're changing our ways where money applies

This is not an art blog...

Now are you ready to grab the candle
The tunnel vision - not television
Behind the curtain - out of the cupboard
You take the first train - into the big world
Now will we find you - now will you be there

Not an art blog
This is not an art blog...