In his article Spring Rain, in Artforum Summer 2011, Okwui Enwezor writes about Ai Wei Wei, the Sharjah Biennale and the recent petitions against censorship.
< http://www.artforum.com/inprint/id=28339 >
“Variously authored by museums, disenchanted curators, artists, critics, and others, these petitions shared the easy illusion of the universal ideal of freedom of expression—willfully ignoring the fact that censorship is an occupational hazard that all dissenting and radical forms of art must face, whether under liberal or illiberal political systems.”
“To my mind, the several petitions that have been circulated in the past months have failed in one striking respect—namely, their inability to engage the larger complexities of the geopolitics of art, much of which they seek to smooth away. If the capacity for critique and defense of the ideals of free thought is to remain the bedrock of all serious art, then we must submit statements proffered on behalf of art themselves to scrutiny.”
In her blog Pluversum, Beral Madra posts her press release about the removal of Aidan Salakhova’s sculptures from Azerbaijan’s pavilion which she curated in the 54th Venice Biennale.
< http://www.pluversum.blogspot.com/ >
“Contemporary art production and its theoretical and critical context is being employed and exploited by the official power as well as by the private sector as a tool for high prestige and glory; but at the same time its content and concepts are not tolerated and acknowledged.”
“I think the artists and curators should have an international legal protection against these conflicts.”
Commissioned by a-n (The Artists’ Information Company), this research paper exposes, quantifies and discusses the likely impact on the visual arts ecology of the Arts Council England’s decisions on fifteen visual arts organisations – mostly artists’ membership and development agencies and practice-based organisations – who recently lost core funding.
< http://www.a-n.co.uk/research/article/1300054/1224267 >