Workstation 1: Self-organisation as Ethic

Is it possible to push back the originary horizon of the contemporary as institutionally mandated, and to create a temporal disjuncture, so that the biennale can simultaneously make a wager on the future as well as a reshaping claim on the past? One of the ways in which this can be achieved is by disrupting the ‘institutional logic of repetition’ (which generates a momentum of iterative continuity and a centripetal accumulation of authority through the sheer editionality of the biennial) with the ‘participatory logic of recursion’ (a form of self-critical disruption and a centrifugal diffusion of dissidence produced from successive curatorial and theoretical ruptures and renewals of the biennial) (Adajania & Hoskote 2010).

The first Workstation will leak the Gwangju Biennale’s archive into the present, by retrieving the 2002 edition directed by Sung Wan Kyung and co-curated by Charles Esche and Hou Hanru. This edition eschewed conventional ideas of exhibition-making that privileged the artwork and the artistic genius above everything else, and replaced these with a wide range of artist initiatives and alternative art spaces from Asia and Europe.
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