In Advance of a Broken Attestant

Abstract

An investigation of the status of criticality in recent practice. The paper drew on a distinction between critical art objects and critical audiences made by Anton Vidokle in his account of Unitednationsplaza, and offered an overview of the complex relation between pedagodic curatorial practices such as Vidokle's, and their primary and secondary publics. This was then used to indicate a possible approach to an object-based public practice which rejects its primary audience in order to pay more attention to the critical potential of secondary ones. Session: Art’s Convulsions: Revolution and the Long Avant-Gard