[versión en español]
[versão em português]

Contemporary art deals with recurring issues concerning its ability to be represented, objectified and to relate. These issues are part of the need to understand its place as an area of knowledge, conceptualization and production of reality, a place to rethink how to live together and test our arrangements, common sense and traditional ways – little by little – which are naturalized within ourselves and can barely be distinguished from our decisions.

We know that the very idea of contemporary art is not homogeneous. Each notion we test is a false hypothesis we want to be true, each impulse attempts to find itself and take a place, to be temporarily rooted to provide us with alibis so that we can have a foothold to move the world, to fable and co-fable ourselves. So we can – through objects and practices – constantly put ourselves to the test as subjects.

For this reason, from time to time we wonder about the validity of what has been said, about the continuation of the story we have been writing together, about the uses we give the tools. This question – which critically reviews the culture and questions the existence of axioms in contemporary art – is the same question we ask ourselves on a daily basis about the role of the artist and its intersections with other roles in contemporary art. We wonder whether our movements are synchronized, choreographed, whether they set a fashion or are converted into an ability to comprehend.

Thus, from time to time we wonder about the usefulness of the boundaries we have set. We meet and discuss the relationship of the artist as a curator, as a manager, as a facilitator of experience, dialogue and communication. We meet to question our tools and conclusions (which are always temporary), to understand ourselves and push ourselves forward, to combine and compare. We meet to understand the required level of institutionalism in management, its minimum degree, how much methodology is enough, and especially what we need in order to create the conditions that make confidence and autonomy possible.

Our purpose at this meeting is to do a little bit of it all. We invite people who, through their actions and concepts, are reviewing their contexts, trying to find and produce, maintain and revolutionize, read and unveil.

Together, at Ateliê397, we hope to share this curiosity and passion that drive us.
Jorge Sepúlveda T. y Guillermina Bustos
Coordinators at Curatoría Forense
For the meeting, The managing artist and the independent power

DATOS DEL ENCUENTRO

O Artista Gestor e a Potência Independente.
Ateliê 397. Rua Wisard, 397, 05434-080 São Paulo
27 à 30 de julho 2015. São Paulo, Brasil.
[ver evento en Facebook / ver evento en Red de Gestiones Autónomas]

Este artículo ha sido etiquetado / This post is tagged artist as a curator, Atelier 397 (Brasil), axioms, common sense, confidence and autonomy, contemporary art, Contemporary Art Autonomous Management – Latin America, Curatoría Forense (Latinoamérica), English Version, fable and co-fable, facilitator of experience, false hypothesis, Guillermina Bustos, institutionalism, Jorge Sepúlveda T., roles