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.
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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.
