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Richard Hylton
Flying Down to Moscow

Edited book

Wild Pansy Press
2007
ISBN: 9781900687256

48 pages

This publication was produced to accompany the project Will Someone Stop You ...?, Artis, Den Bosch, The Netherlands, September 30 - November 4, 2007 and the related talk Say It As It Is (part II), Unit 2 Gallery, London, October 11, 2007.

Over the past decade the contemporary art market has witnessed a significant global expansion through the proliferation of international exhibitions. Beyond the traditional sites for this activity (Western Europe and the United States of America in particular), the scope of this activity has expanded to now include former Eastern Bloc Countries, nations across the continents of Africa and Latin America as well as countries such as India and China.

This has arguably precipitated greater opportunity for individuals/groups and institutions to routinely interact on not just a local or national level but now also on an international scale. In London, the impact of the global economic transformation within the (art) world has coincided with what could be described as the privatisation of contemporary art. No longer (if ever at all) can an easy dichotomy be made between public and private sectors of the art world. Not least, the corporate influence in art today traverses both the public and private sectors, forming something resembling a public-private partnership.

Within this context, the notion of a politically-motivated artistic practice - one which is premised on the transformative powers of art - appears if not untenable then certainly more problematic. How can artists aspire to be political and not duplicitous in a market environment in which commodity is the primary basis for production? What strategies might artists/producers seek to adopt that actively acknowledge both the limitations and possibilities for a "critical" practice? Can an embrace of market forces itself be a critical tool or strategy? Now that art institutions are seemingly embracing their own form of self-criticality, where does this leave the notion of an "outside" and a critical art practice?


Please also refer to hardcopy item for this output.

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