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SYNOPSIS
The issue of which possibilities will exist in the future has occupied
visual artists and thinkers in the visual arts for some time. Over
the last two decades, art has become closely entwined with market
forces. The enduring discontent with this situation forces to rethink
dubious models of the creative process, of showing work, how artists
and theorists go about their work and what they react to. Interdisciplinarity
and the demand for "relational aesthetics" mark the juncture
of the making of things and socio-political activity.
Speed and quick distribution of information are crucial to our society. This is, however, rapidly outdated. We cannot know if new technologies are an important progress or a subtle trap. The same can be said about internationalisation, which has become ever-present in the visual arts, and the nomad life - with its respect to the "other" - is part and parcel of. Yet, things seem to be melting into uniformity, causing the memory of the original motivation to fade. Are chances being squandered because institutions are only superficially conform to alternative ideas?
These problems could lead to withdrawal to identity, which demands to be remembered, reflecting its context, as Tom Sherman's contribution to this "Anthology of Art" succeeded in doing.
Curating and cultivating "yet unknown art" retain authenticity, which has always been essential in the history of art.
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