Don't Let The Media Have The Monopoly On The Freedom Of Speech, poster, Freee 2007; for solo exhibition Protest is Beautiful, 1000,000 mph Gallery, London. Also shown, How to Make a Difference, IPS, Birmingham, Photograph Louise Downes

poster, Freee 2007 Terms of Use, Montehermoso, Vitoria, Spain June 2008, Photograph Catherine Hyland Don't Let The Media Have The Monopoly On The Freedom Of Speech, poster installation view, Freee 2007 Montehermoso, Vitoria, Spain June 2008, Photograph Catherine Hyland Don't Let The Media Have The Monopoly On The Freedom Of Speech, Freee, poster installation view, 1,000,000 mph, London, 2007

Don’t Let The Media Have The Monopoly On The Freedom Of Speech, poster, 2007; for solo exhibition Protest is Beautiful, 1000,000 mph Gallery, London. Also shown, How to Make a Difference, IPS, Birmingham, 2007, Terms of Use: Art and Informational Economy, Montehermoso, Vitoria, Spain 2008

Terms of Use: Art and Informational Economy
Curated by Lisa Rosendahl
From 23-May-2008 to 31-August-2008

Stefan Brüggemann, Minerva Cuevas/Mejor Vida Corp., Maria Eichhorn, Chris Evans, Freee, Mieke Gerritzen, Goldin+Senneby, Lise Harlev, Michele Masucci, Santiago Sierra, Superflex, Måns Wrange/OMBUD, Carey Young.

The group exhibition Terms of Use explores contemporary art’s entanglement with post-industrial capitalism in its many forms, bringing together works by artists who in their practice negotiate the terms and conditions for the production, mediation and consumption of art.

In legal language, ‘terms of use’ refers to the rules set up by the owner of an intellectual property or service to govern how they may be legally used. As exhibition title, the phrase is intended to invoke the many ways in which art is used in the interest of capital – be it social, cultural or monetary – but also the way artists have adapted and appropriated corporate strategies, structures and intellectual resources to suit their own interests.

Aiming to raise questions concerning art’s autonomy and the possibility of critique, the exhibition includes artistic positions ranging from the overtly entrepreneurial to the covertly resistant. Including projects intervening directly with state and business structures to effect real social and economic relations, alongside works emulating the fluidity of corporate discourse or the fictitious constructs of global capital, the exhibition aims to articulate a field of enquiry beyond the symmetry of inside and outside.

The primary artistic medium featured in the exhibition is language, albeit in different forms such as text, sound and video. Language is used to state facts, express ideas and negotiate relationships, but also as a visual medium. Highlighting the blurred boundaries between reading, experiencing and looking at language, its double function within informational economy as both tool for communication and as commodity is emphasized.

Looking at the legacy of Conceptual art through the work of contemporary artists, the exhibition explores the implications of the relationship in the 1960s between the emergence of text- and performance-based art practices and the rise of post-industrial informational economy. Focussing on artists favouring the production of concepts, services and relations, the pursuit of “dematerialization” is re-visited through a current understanding of concepts such as immaterial labour and intellectual property.

Rather than taking politics as its subject matter, the exhibition aims to make visible the already existing connections between art and politics in the processes of art production, mediation and consumption, suggesting the function of art as a potentially effective tool for political address through the process of self-reflexivity.




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