Treason Without Guilt: An Alternative Realism

2014

Published by:
Eva International

ISBN: 0957625812, 9780957625815

Full Text Online

Treason Without Guilt: An Alternative Realism, 2014

Eva Interntational

Volume/Event Contributors:

The 288-page full-colour catalogue acts as a record for the evolving 12-week programme of exhibitions and events, curated by Bassam El Baroni, that took place at various locations across Limerick City from 12 April to 6 July 2014.

Contents of the AGITATIONISM catalogue include:

Bassam El Baroni’s curatorial essay, “Agitationism Cypher”.

Amanda Beech’s, “Treason without Guilt: An Alternative Realism”.

Brian Kuan Wood’s,”Is it Love”.

Jean-François Lyotard essay, “Ticket to a new Décor”.

Artist profiles: Bisan Abu-Eisheh, Doa Aly, Kjersti G. Andvig, Martí Anson, Amanda Beech, Ann Böttcher, Jenny Brady, Benjamin de Burca & Bárbara Wagner, +billion-, Luis Camnitzer, Chimurenga, Jacqueline Doyen, Tom Flanagan & Megs Morley, Zachary Formwalt, GRRRR, Nilbar Güreş, Rana Hamadeh, Siobhán Hapaska, Nicoline van Harskamp, Cécile Hartmann, Malak Helmy, David Horvitz, Luis Jacob, Jeffrey Charles Henry Peacock, Ramon Kassam, Patrick Jolley, Hassan Khan, Per-Oskar Leu, Alon Levin, SofieLoscher, Mona Marzouk, Pauline M’barek, Asier Mendizabal, Metahaven,Nastio Mosquito, Catalina Niculescu, Seamus Nolan, Mark O’Kelly, Uriel Orlow, Neša Paripović, Michael Patterson-Carver, Garrett Phelan, Elizabeth Price, Raqs Media Collective + Iswanto Hartono, Eva Richardson McCrea, Walid Sadek, Miri Segal, Ann-Sofi Sidén, Praneet Soi, Paul Tarpey, Stefanos Tsivopoulos, Humberto Vélez, Carla Zaccagnini

An essay first published in long form in The Journal of Visual Arts Practice, AntiHumanist Curating special issue, March 2011 entitled “Curatorial futures with the image: Overcoming scepticism and unbinding the relational” is edited and revised for this contribution for Eva International, The Irish Biennial of Art’s catalogue, 2015, curated by Bassam El Baroni.

The essay pays specific attention to the relationship between organizational power as a mode of curatorial affect and emancipatory political claims that are made by both curation and the art it manages and presents.