The Counterfeit Crochet Project, 2006-present
Interstice: New Economies for Creative Communities, is framed as a recent historical survey that speaks about the relevance and contribution of past artistic practices that have contributed to a particular direction in art making now beyond the year 2012. Beginning with the 1970's, this show examines an artistic journey that spans the movements of pre and post relational aesthetics, social aesthetics, participatory artwork, and art and social practice. Two dimensional, three dimensional, video and performance works as well as a variety of educational programming are included in our scope. The goal of this show is to speak, and raise awareness about, the roots of current relational and community based art practices as well as the future of those practices. We are very interested a curatorial concept that functions within the context of how fine art, and fine art exhibitions can benefit and contribute to the community and the values and projects within communities.
Art is it’s own currency: it can reside outside the conversation of money, helping to develop new economies. The artist lives in a world where one is free to make. Although western culture operates within the capitalist structure, rewriting the rules is accessible. This is an exploration of those incongruities.
Marina Abramovic & Ulay
Fallen Fruit (David Burns, Mattias Viegener, and Austin Young)