Archive Articles
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Articles
The Machine Is Unheimlich: Krzysztof Wodiczko’s Homeless Vehicle Project
Dick Hebdidge
Aug 2012
Wodiczko’s Homeless Vehicle is unheimlich (“unhomely”) in the sense Freud alluded to: equipped with storage bins for redeemable tin cans, they are also at the same time uncanny vehicles.
EC
Articles
Utopia Is No Place
Stephen Duncombe & Sarah Peters
Aug 2012
“The political problem of today is not a lack of rigorous analysis, or a necessity for the revelation of the ‘truth,’” says theorist and Open Utopia creator Stephen Duncombe in a discussion on Open Field and collective utopia, “but instead the need for a radical imagination: a way to imagine a world different from the world we have today.”
EC
Articles
Conversations on the Commons: An Introduction
Sarah Schultz & Sarah Peters
Aug 2012
“What does it mean to be creative as conscious social activity—to create a commons, rather than individualizing creativity?” —Josh McPhee
Open Field is a three-year, summerlong project of the Walker Art Center that adopts the commons as a philosophical and programmatic framework to imagine a new kind of public gathering space. Grounded in the belief that creative agency is a requirement for…
VA
Articles
Publishing a Decade: Neal Cuthbert on Artpaper and the ’80s
Neal Cuthbert & Lydia O’Callaghan-Morrison
Aug 2012
Tagged “art/commmunity/cultural activism,” Artpaper chronicled art in the Twin Cities during a pivotal decade, its short life spanning from 1981 to 1993. As head of the monthly publication’s artists’ advisory committee then as Artpaper director, Neal Cuthbert had a clear view of Minneapolis’ creative life. Now vice president of program at the McKnight Foundation, he shares his memories of the 1980s.
PA
Articles
The Trace: Searching for the Imprint Movement Leaves Behind
Abigail Sebaly
Aug 2012
As we consider new ways of looking at performance objects in a museum setting, we can’t ignore the ways physical movement has shaped them. The Walker’s acquisition of the Merce Cunningham Dance Company’s collection of costumes and decors has researcher Abigail Sebaly asking, “How do the various rubs, pills, and scuffs indicate an imprint of the movements that were performed in them?”
PA
Articles
Ode to a Somnambulist
Julie Caniglia
Aug 2012
Minnesota may be the land of 10,000 bands, but it seems none could be better suited than Brute Heart to create a score for the classic horror film, Dr. Caligari. Known for conjuring haunting soundscapes from bass, drums, and viola—along with vocals that earned a “best female vocalist” nod this year, the band’s influences range from art rock to orchestral music to Middle Eastern traditions.
VA
Articles
dOCUMENTA (13): The Uncommodifiable Quinquennial
Olga Viso
Aug 2012
In marked opposition to the economic forces that have dominated the contemporary landscape for more than a decade, dOCUMENTA (13) curator Carolyn Christov-Bakargiev offers a vision that is fiercely skeptical of the “persisting belief in economic growth,” organizing one of the most earnest, authentic, and refreshing surveys of contemporary art in my recent memory.
PA
Articles
Performing Through Crisis: Patrick Scully on Art and AIDS in the 1980s
Patrick Scully as told to Paul Schmelzer
Aug 2012
Turning 27 in 1980, Patrick Scully left the dance collective he called home to work independently and “explore what being gay meant to me as an artist.” A decade that began with optimism yielded surprises as political conservatism, the destruction of his downtown block, and AIDS rocked his world. For our continuing series reflecting on the Twin Cities in the 1980s, Scully shares his memories.