Anti-institutional, re-institutional, post-institutional critique.
My practice is a processual chasm between negative destituent (Agamben, 2013) and affirmative constituent (Hardt and Negri, 2005) folds. One could apply the idea of Kuba Szreder’s “productive withdrawal” to this attitude as it is expressed in his essay in "Active Withdrawals: life and death of institutional critique" (Szreder, 2016); even if I am not at ease with the definition of "art worker" because I do not recognise my practice in a marxist collectivist tradition. For me the strike is a "strike of sense" applied to the work that every day human-machine assemblages perpetuate in the urban space. But it is true that even the artists, curators, galleries, museums and art researchers are usually part of this mechanism of work. I try to hack this working machine pushing further the institutional subversion. This anti-institutional, re-institutional and post-institutional critique invades even art research as an institution. My practice inserts itself as a “counter-field” in the coded institutional rules of “artistic research”. It wants to force the instituted code to generate a re-institutional excess by a parallax tension with the instituted signifier. My ethic of research conceives art research as a “self-critical practice” as it has been described by Esa Kirkkopelto in his “Artistic Research as institutional practice" (Kirkkopelto, 2015). I see art research not as an architecture of rules but as an anarchitecture in becoming that bifurcates and generates new unpredictable branches of research. My practice tends to erase the borders between art, art research and life through a complex zig zag of superposed dimensions. For this anti-institutional attempt to overcome these separations some observers have noticed that my practice can be derived by Allan Kaprov's practice and his theoretical research in the "Essays on the blurring of art and life". This is due even to the fact that Kaprov used to call himself "un-artist" and I am using to call the avatar-subjectivity of my practice "Anartist". I think that Kaprov was directing his anti-institutional attitude directly to the identifying norms of the art system. Instead Anartist is a playful "crasis" between Anarchist and Artist. The clash of these two terms is ambiguous and Situationist (I am indebted with Debord): it can synthesise into an Anarchist Artist subjectivity that adds a political dimension to art but it can also put in question the pure terms "Anarchist" and "Artist" by a contamination that makes them unstable, oblique and undecidable. In this way it attacks the definitions of the system of art and the defined political normativity by two sides; in order to free the space of the unknown and its monster-potentiality. Every one of my gestures tries to turn the clarity of the master-signifier into an indented monster-signifier that cannot be pinned down in a closed form. This is also an anti-institutional attitude to the extreme. Anti-institutional practice as never concluded task, because the dimensions in play are always in excess and the danger to be subsumed by the power of the definition is always beyond the corner. The Anartist's attitude runs counter-current respect to an usual academic setting where accumulation of references and clear definitions seems to be a surplus of capitalization for the institutionalisation of the discipline; a sneaky effect of the power-knowledge circuit that appears even when a discipline is deemed to be interdisciplinary or anti-institutional. Nevertheless, this tension between an institutional center and a periphery in flight is part of a dialectic that is intrinsic to life. It reproduces the schizophrenic entanglement between disruptive and conservative forces of the metamorphosis. For this reason my art practice is not only political but also existential: it responds to uncoded needs for a surplus of life.
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