The myriad organizing efforts of an artistic practice; networking, applications, talking to colleagues, daily rhythms, going to openings, reading, writing and so on, are often seen as the coincidental scaffolding of a practice, that is, as means to an end. This course will explore a notion of practice where all these encounters are opened up, and considered as generative occasions of versioning and translation taking place integral to a practice. At first, for recasting the techniques of relation we have, and secondly, for expanding the operational spaces of artistic practices by inventing new ones.
This furthers a generative notion of artistic practice as a practice of excess, which is always extra-institutional, extra-disciplinary, extra-categorical and extra-cognitive. It overflows and generates abundance beyond our cognitive faculties and the present ecology of organizations.
Organizational form is a key actor in terms of negotiating the excesses generated by artistic practices. It negotiates what has value and what not, it selects some cause-effects relationships over others, it directs and situates select trajectories of artistic practices. It sees some parts of artistic practices, others not. It is in other words, the extended armature of artistic practices, and its agency has amassed to a degree where one could talk of a bureaucratic turn.
What this course will stress and explore, is that artistic practices are organizational forms in and of themselves, in that they compose emergent assemblages of ideas, places, economies, materials, desires and other less easily named entities. Artistic practice is here understood as a “way”, a navigational practice that operates at many levels and scales and co-compose with its shifting environments. As an artist, you initiate processes than in turn will model you as an artist. The work of art, is but one cut/duration in such emergent multi-pathic processes.