By pretending that we’re able to go back to the original when we repair things, we are denying the accident, and then we are denying time and history, which is the complete opposite of pre-modern societies in which history and the incorporation of injury was also the incorporation of time.
Dave Beech on the persistence of myths and counter-myths around the special status of art and artists
Art has a long history of idealising its own distinctive forms of activity, from the aesthetic experience of consuming artworks to the workless work of producing art. Myths of the so-called ‘man of taste’ and the myth of the genius do not only belong to the same historical transformation of culture but are twin developments.
Fehras Publishing Practices
Saim Demircan examines the Berlin-based collective’s attempts to revisit publishing networks lost due to generations of war and migration in the MENA region
By retracing contested geographies and past conflicts across time, Fehras Publishing Practices has recuperated publishing as a space for cultural production.
Hancock’s Half Hour
The (now former) health secretary Matt Hancock rivalled his clownish TV namesake – an artists’ favourite – for persistent endeavour in the absence of any evident aptitude.
Ultimately, however, none of this is remotely funny, particularly for those who suffer from coulrophobia – a fear of clowns – which under this government is probably most of us.
Eddie Chambers responds to Tom Denman’s feature
The question that should surely be asked, by Tom Denman and by others, is why Tate Britain, the country’s leading national art collection, is in hock to commercially successful artists who surely, by definition, can take care of themselves and have no particular need for state or institutional patronage.
Tom Denman replies
I would like to add that if museums challenged the hegemony of the commercial sector instead of mirroring it as they are accustomed to doing, this would strengthen the potential for self-reflexivity from the museums and critical engagement with the objects they choose to exhibit, especially given the laissez-faire origins of institutions such as Tate.
Walk and Chew Gum
Henry Broome responds to Matthew Bowman
Who am I meant to reply to? Matthew Bowman or Immanuel Kant?
Matthew Bowman replies
Henry Broome seems to take himself as rebutting my argument when he is actually repeating exactly what I – and Immanuel Kant, dare I add – proclaimed.
The heavy-handed Science Museum calls in police to evict teenagers protesting against Shell’s sponsorship of the museum’s climate-change exhibition; the ransacking of a Palestinian artist-led arts centre has led to some artists de-authoring works sold to supporters of the Israeli state; colonial-era statues across the UK continue to cause unrest after the interventions of government ministers; the education and culture secretaries both continue to fan the flames of their culture war; plus the latest on galleries, people, prizes and more.