We (Laurie Beth Clark
and Michael Peterson) are artists and scholars who make work independently and
collaboratively.
In our joint projects, under the group name Spatula&Barcode, we
are interested in conviviality, criticality, and geography. There is always
food. We’ve staged bicycle tours, Skype conversations, dinners, and coffee
dates in Canada, Croatia, Morocco, the Netherlands, and the United States.
Our individual projects explore identity, memory, trauma,
and materiality. Peterson is doing
work on torture and performance. Clark
currently has a project installed in Wisconsin that brings together into one
installation 113 art works that use bones thematically or materially. This Ossuary will grow between
iterations and you are all invited to contribute to it.
We’re interested in discussing what it means to make a
creative practice of collating/bundling/collecting/hosting/presenting/installing
or devising with other artists’ (and non-artists’) creative work. How is this activity like and unlike curating? What are the important ethical
questions that need to be addressed as this particular way of making work
becomes more widespread? As hosts,
to what extent do we give something to or take something from the participating
artists? How do these projects create new hierarchies or reproduce existing
ones—between hosts, participating artists, support staff, venues, volunteers,
and audience members? Is it
important that audience members are able to identify the creative roles of the
“host” as artistic practice?
Lately, we are also preoccupied with generosity. Are Lewis Hyde’s 1979 reflections on
gift economies still relevant? If not, what newer theories might replace them? Are
the new relational projects more “generous” than conventional art making? To what extent is generosity
structurally central to all artmaking?
Are there meaningful differences in degrees of selfishness between the
arts? What are the antecedents of contemporary relational projects, both in and
out of an arts context?
We’re also interested in canonization. Which kinds of
relational projects are getting a lot of attention and why? Which are rarely
written about and why not? Are
there unique concerns that arise when critical acclaim is given to art works that
profess populism? Are works from or produced in certain parts of the world being
given special attention? How
should be think about privilege as artists from one part of the world create
relational projects for communities in other parts of the world?
Finally, we’d be interested in discussing the similarities and
differences between the kinds of activities that are being developed under the
rubric of relational aesthetics and those events that have characterized the
Occupy Movements (and last year’s protests in Madison Wisconsin). What do we privilege when we call the
work art and what do we lose? What do we privilege when we call the work
political action and what do we lose?.
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