Céline Condorelli
Functional Configurations: Seven Acts in search of a play

Synopsis

Eastside Projects is an artist-run space, a public gallery for the city of Birmingham and the world. It is organized by a founding collective comprising Simon and Tom Bloor, Céline Condorelli, Ruth Claxton, James Langdon, and Gavin Wade; it first opened to the public in September 2008.
Starting in 2003, Condorelli and Wade developed the evolving, collaborative project Support Structure, which aims to create spaces and situations that are available for continuous reinvention. The initial setup of Eastside Projects formed Support Structure’s eighth phase, “In Support of Public,” and included renovating the building and creating the physical fabric of the gallery, as well as its spatial strategy; the process of building-up took place throughout the 12 weeks of the first exhibition, This Is the Gallery and the Gallery Is Many Things. This gradual construction site is considered as a starting point, rather than an end result, of how the space appears and what it consists of, and marked the beginning of a spatial evolution as a developing, open-ended exhibition. The gallery is an evolving collective artwork.
Eastside Projects is an artist-run space, but also an effective proposal of what the function of art spaces may be within the context of art production, and which role we may want art to have in society at large. To this end, a few operative policies are to be built upon:
1. Expanded programme:
We have joined together to execute functional constructions and to alter or refurbish existing structures as a means of surviving in a capitalist economy . Eastside Projects considers design, organizational structures, and architecture to be an integral part of its programme.

2. Continuous collective evolution:
Each aspect of the gallery is in process and constant evolution. The Gallery is the ever-changing manifestation of the labour of all the groups and individuals who have worked in and with it.

3. Cumulative space:
Work may remain; Work may be responded to. The gallery is a collection; the gallery is an artwork.
Work becomes the existing conditions for the next works to take place in.

Cast

The cast consists of some of the numerous voices that are part of thinking through and developing Eastside Projects’ spatial conditions. Some of these voices belong to the directors and artists that have been physically present in the space and have worked in it; others are those of people who may never have been inside the gallery, but who provided important insights in dialogues elsewhere; and finally some are the essential voices of inspirational thinkers from the past, that populate our thoughts and conversations and are, in this way, also present. Which is to say: all the characters in this text are real, however, events, specific words and dialogues are all, at least in part, fictional.
In order of appearance
Stuart Whipps: Artist and ongoing archival photographer of Eastside Projects
Walter Benjamin: Philosopher, sociologist, literary critic, translator, and essayist (July 15, 1892–September 27, 1940)
Céline Condorelli: Artist/Architect, founding director of Eastside Projects
Gavin Wade: Artist-curator, founding director and curator of Eastside Projects
The Director: A character in A “Volvo” Bar, a play by Liam Gillick (taking place at Eastside Projects from November 27, 2009 to January 23, 2010)
Peter Nadin: Artist, professor and founder of the Peter Nadin Gallery 1 (New York, 1979–1980)
El Lissitzky: Artist, designer, typographer, polemicist and architect (November 23, 1890–December 30, 1941)
Bruno Latour: Sociologist, anthropologist, theorist.
Andrea Fraser: Artist.
Claude Lefort: Artist.
Peter Fend: Artist and co-founder of the Offices of Peter Fend, Coleen Fitzgibbon, Jenny Holzer, Peter Nadin, Richard Prince & Robin Winters (New York, 1979) and Ocean Earth (New York, 1994).
R. Buckminster Fuller: also known as ‘Bucky’, architect, engineer, teacher, author, designer, inventor, and general visionary (July 12, 1895 – July 1, 1983).
Abbie Hoffman: Political and social activist (November 30, 1936 – April 12, 1989), author of Steal This Book (1971).
Mary Anne Staniszewski: writer, editor, collaborative curator and professor
John Latham: Conceptual artist, founder of Artist Placement Group, with Barbara Steveni (February 23, 1921 – January 1, 2006)
Yvonne Rainer: Choreographer, dancer and filmmaker.

1 Peter Nadin Gallery (1978–1979), New York, by Peter Nadin, Christopher d’Arcangelo and Nick Lawson, which had a continuous exhibition titled ‘The work shown in this space is a response to the existing conditions and?/?or work previously shown within the space’
SETTING:
A medium-sized brick, industrial building’s interior, tall ceiling with roof skylights, concrete columns, concrete floor, fluorescnet lighting both horizontal and vertical. The kind of space that looks like it would get really cold in winter. Now just about comfortable.

TIME:
Night,
sometime around the beginning of the Twenty-first century



















ACT 1
Location: Manifesta 8, Murcia, Spain

Walter Benjamin: Namely, instead of asking: what is the relationship of a work of art to the relationships of production of the time? Is it in accord with them, is it reactionary or does it strive to overthrow them, is it revolutionary?—in place of this question, or in any case before asking this question, I would like to propose another. Before I ask: how does a work stand in relation to the relationships of production of a period, I would like to ask: how does it stand in them? This question aims directly at the function that the work has within the relationships of production of a period. 2


2 Walter Benjamin, The Author as Producer, New Left Review I/62, July-August 1970, 1. First delivered as a lecture at the Institute for the study of Fascism in Paris in 1934. The quote was the starting point for a text commissioned by Manifesta Journal, which is an earlier version of this text.

















ACT 2
Location: The Abstract Cabinet 3

Céline Condorelli: We start with a question: what should a gallery be and how should it work? And then comes the idea of a cumulative gallery.

Gavin Wade: The gallery is a space to be constructed over time; we weren’t going to make something that would just be ready to go and stay that way forever. Our alteration to the space could only be the beginning, getting the trajectory that Liam mentions going. 4

The Director: Maybe we’re trying to catch a moment, maybe an earlier moment, maybe it’s a Volvo moment, 17th of June, 1974, when the view from the factory was of the trees and the way to work together was as a team and we know that the future is going to work out, everything is a trajectory as long as we can keep it this way. 5

Wade: Putting the founding collective together is right at the start of that, and then we begin to think how—now that we have proposed a space where we can make art—should we configure it each time, how should we propose that it comes into being? This Is the Gallery and the Gallery Is Many Things is the first exhibition, and it is explicitly an evolution, an invitation to enter and alter that context. So that a number of different individuals overlap and share time, responding to what has happened beforehand, anticipating what might come next.

Peter Nadin: We told them to do whatever they wanted, the idea being that there would be a succession of exchanges or interactions between people, between artists. The gallery situation at the time seemed silly in a sense: why does everything always leave every month? What is it with the monthly cycle, of putting up work, taking it down, putting it up. . . . Why not leave it there, and just put some other stuff in there? What is the need for this false sense of erasure? 6

Condorelli: We’d been looking at El Lissitzky’s Abstract Cabinet a lot –an exhibition as an artwork in and of itself. What this does is to position container and context as sites of production, as working sites, while claiming the status of artwork.

El Lissitzky: Great international exhibitions resemble zoos, where visitors are roared at by a thousand different beasts at the same time. In the gallery the objects should not all suddenly attack the viewer. If on previous occasions in his march past in front of the picture walls and object rooms, he was lulled by painting into a certain passivity, now exhibition spaces should make the man active. This should be the purpose of the gallery. 7

Condorelli: Yes putting the space itself in the foreground is a way of working against passivity, but also against ideas of neutrality or of providing a background. It is important to me to create an active space, one that activates… Activation is joined to cumulation –the latter coming directly from Peter Nadin’s Gallery in New York in 1979. A cumulative exhibition space as an artwork… creates a context where each show is an invitation to alter the space, but the space is also, at any given time, a sum of its own history. In this way, the default position of the gallery is exactly its capacity for buildup, which means not starting from an emptied, or white, space but from the cumulative –and therefore potentially confusing– space. Or another way of saying that would be: work on top of work on top of work.

Nadin: Walls don’t stay as walls, things happen to them, things are put on them. So why not let the thing evolve, let it continue, and see what happens? 8

Wade: Putting a scaffolding wall in the space is one way of declaring conditions of change, transformation, and temporariness. One could argue that as a default position it is fixed as well, but it is one of a wish to change, encouraging adjustment and intervention—a very open sense of what a default setting might be.

Condorelli: Using scaffolding both inside and outside declares the site (formally, jurisdictionally, effectively) to be a building site, and therefore, a site in flux. Once that is the existing condition that people are invited to work with, it becomes an invitation to alter the space without it becoming precious, to change it in a way that it could continuously change.


3 Russian Constructivist El Lissitzky's inspirational Abstract Cabinet rooms of 1926-28 in Dresden and Hannover, Germany. Lissitzky developed radical new environments, rooms as artworks, containing other artists’ works including Naum Gabo, Francis Picabia, László Moholy-Nagy, Piet Mondrian, Pablo Picasso, Fernand Leger, Hans Arp, Kurt Schwitters and Alexander Archipenko.
4 Adapted from a recorded Skype conversation between Céline Condorelli and Gavin Wade on August 28 and 30, 2010.
5 Liam Gillick, A “Volvo” Bar (Birmingham: Eastside Projects Publications, 2009), n.p.
6 Adapted from a conversation between Céline Condorelli and Peter Nadin at Nadin’s home in Lower Manhattan, July 12, 2009.
7 Adapted from El Lissitzky, “Exhibition Rooms,” in Lissitzky-Kuppers, Sophie (ed.), El Lissitzky: Life, Letters, Texts (London:Thames & Hudson, 1992), 365-366.
8 Adapted from a conversation between Condorelli and Nadin.
ACT 3
Location: Pleasure Island 9
“I Love You Pleasure Island.
And this story is set in a dark and unfortunate future, in a place called Pleasure Island.
I am so sorry. 10”

Wade: In most galleries, so much importance is put on creating a hallowed space for the next exhibition, making a force field of protection around the gallery that distinguishes it from the rest of the world. It's a funny thing to change a space only to make a protected environment for the next person to come along—it seems incredibly perverse, and I think if you do that continuously, you just get gallery fatigue, and begin to understand too much what the gallery is made of and it no longer has any meaning. There might be a different fatigue we face though, that of endless possibilities, of continuous change and transformation.

Bruno Latour: You can become strong only by association. But since this is always achieved through translation, the strength is attributed to potency, not to the allies responsible for holding things together.

Condorelli: Does this suggest a way of making exhibitions that are close to art production itself?

Wade: The only thing that would be valid to me is to think of those exhibitions as a way of making art.

Lissitzky: The equilibrium which one seeks to attain in the gallery must be elementary and capable of change. It must acknowledge and work with existing conditions, social, spatial, political (…). Just as the best acoustics are created for the concert-hall, so must the best conditions be created for the show-room, so that all the works may achieve the same degree of activity. But gallery-space is not there for the eyes alone, it is not a picture; it must be lived in. The Gallery is there for the human being—not the human being for the room.11

Condorelli: We are arguing for a position of critical integration within processes of production.

Wade: We choose notions that we are going to analyze across a long period of time, and these form the structure that produces material in the space: this system could be seen as a curatorial approach which in turn makes a space in which things occur. So is that what an artspace is able to produce, a framework active and sensitive enough for other people to work and think with?

Andrea Fraser: It may be from this perspective one can understand how artists of the late 1960s saw in the condition of service products, relations, positions, and functions a means of protection from, and even resistance to, forms of exploitation (of themselves and others) consequent to the production and exchange of cultural commodities.

Condorelli: Curators, artists, shall we say: workers, become in this way cultural producers, as do the structure, and the organization itself; what I mean is that different kinds of authors enter the space and take part in the production of culture, they participate (together, against each other) in something we could call –to quote Hans-Ulrich Obrist– the production of the real.

Wade: In our case, we have to make sure that this is an exchange, a dialogue; to propose things and construct them to have effects, and to produce other things we are affected by in return. Our structure needs to change according to how people use the space. It is our real intention to try and build in this way.

Condorelli: And we are working towards this changing condition collaboratively. Collaboration is an important part of it because it is based on mutual dependence, it is unpredictable, precarious, fragile; it is driven by individuals through the desire to multiply their potential to overcome scarcity or inequality in a way that they cannot do by themselves. What I mean by this is that collaboration in our case is only ever and nothing less than a form of labour relation.


9 An artwork by Heather and Ivan Morrison from 2007, serving as Eastside Projects’ office, kitchen, and bar.
10 I Love You Pleasure Island, Heather and Ivan Morrison, Pleasure Island puppet play, Eastside Projects, September 26, 22/09/2008
11 Adapted from El Lissitzky, “Exhibition Rooms”, as previously.




























ACT 4
Location: Archive Kabinett, Berlin
Shuffling, pragmatic

Claude Lefort: … no economic or technical determinations, and no dimensions of social space exist until they have been given form. Giving them a form implies both giving them meaning (mise en sens) and staging them (mise en scene). 12

Condorelli: I thought Derrida had said that! The pragmatics of this are though, that when we started we also needed things like a bathroom and a front door. Now, we are mostly thinking of change through new exhibitions and activities, and their sets of possibilities for display. These evolving spatial configurations become new existing conditions, much like in the world surrounding us, and we know that some things might be removed, other things might be added, and some might just be taken for granted because they were already there when we got there.

Wade: We need to develop exhibitions that allow a clear use of space that isn't satisfied yet.

Peter Fend: And it is more or less an aesthetic exercise in what to think about space. . . . Where space in this case is a solid, is a gas, is elastic; it can be inflated, it can be contracted; it’s in your body, you’re inside the space. It is actually quite important that something has happened to the walls, that something happened to the space. . . . The space has already been somehow “occupied,” and what you do becomes an additional occupation practice. 13

Condorelli: Perhaps I can take this and turn it around, and the occupation practice becomes one of addition. To think about space cumulatively means to consider it as a register of its evolution. And again: A cumulative space acts as a growing archive of its own production. Or: material and physical space is forensic evidence of how it has been previously occupied.

The Director: At the heart of all this is a re-examination of “the day before” as a model for understanding how to behave, activate, and present. It tries to get to the point just before the only option was to play the tuba to the workers. The day before the Brass Band became the only option. The day before the mob became the workers; the day before the factory closed; the day before “Hotel California” was released—the idea of a bar in the middle of nowhere, with nothing to listen to, and everyone waiting for the arrival of the “soft” future. 14

Condorelli: I’ll give you an example: in Curtain Show 15 while installing Tacita Dean's work —Darmstadter Werkblock— her assistant could not understand why the wall was the way it was: it was constructed of fragments of Joanne Tatham and Tom O’Sullivan’s artwork Does your contemplation of the situation fuck with the flow of circulation, and DJ Simpson’s wallpaper work Disc 001 Real Grey from Abstract Cabinet Show. It was difficult to explain how while being the remainder of several artworks, it was also part of the gallery and the existing conditions that we wanted Tacita’s film to work within. At some point it became clear that there was a congruent relationship between the fabric of the space and the subject matter in her own film (of the relationship between Joseph Beuys’ work and the space it existed within); he susbsequently didn't even want to paint over other areas we thought could be fixed up!

Wade: You always have to communicate, but in a way, it is more interesting if space itself poses the questions.

R. Buckminster Fuller: I have pondered a great deal on the word ‘creativity’, and I’m not inclined to use it in respect to human beings. What is usually spoken of as creativity is really a unique and unprecedented combination in the use of principles discovered by man as existing – a priori – in the universe.

Hoffman: So we just take what already exists and use it for our own ends?

Fuller: I think the word creation implies adding something to the universe. And I don’t think man adds to the universe. I think man is a very extraordinary part of the universe for he demonstrates the unique capability to discover and intellectually identify abstract, operative principles of the universe.

Hoffman: And then to use them in new ways. To use and to be used - that is our lot. Not that I would complain about that. Upcycling is about building in, designing in the option of being reused for a new purpose and using what is available when necessary. Giving a new function or purpose to an a priori principle, as you say. Would you say that we are all just accidental ‘theatregoers’ who just happened in on the play of life, like it or not?

Fuller: No. I find exactly the opposite to be true. Humanity performs an essential function in universe. Man’s function in universe is metaphysical and antientropic. He is essential to the conservation of universe, which is in itself an intellectual conception. 16


12 Claude Lefort, Democracy and Political Theory (Minneapolis: University of Minnesota Press, 1988),p. 11.
13 Adapted from from an email conversation between Céline Condorelli and Peter Fend between October 2008 and May 2009.
14 Gillick, A “Volvo” Bar.
15 Curtain Show, curated by Celine Condorelli & Gavin Wade, 13 March – 17 April 2010, Eastside Projects. With Tacita Dean, Douglas Gordon, Barbara Holub, Hannah James, Grace Ndiritu, Lilly Reich, Ines Schaber, Albrecht Schäfer, Eric Satie.
16 Adapted from Upcycle this Text, by Gavin Wade, itself adapted from R. Buckminster Fuller, 'Design strategy' (1966), in Utopia or Oblivion: the prospects for humanity, 1969, p. 23, 354.

















ACT 5
Location: 86 Heath Mill Lane, Birmingham,
exactly between Paradise Limousines and Taxi Garage

Lissitzky: We are approaching the state of floating in air and swinging like a pendulum. I want to help discover and mould the form of this reality. 17

Condorelli: I was thinking that exhibitions are probably the only context where display is the main subject one is working with, and even there, not always explicitly so. Display is of course crucial to politics or the supermarket, but it's not in the foreground, while in the space of exhibitions, it is possible to put attention on display itself as the site for work.

Wade: There is a sort of stripping down, getting down to the structure of building something up. I wonder whether our position is actually a stripping down to the bare bones of what you require to make something. A white cube is not that, but it appears as an image of it.

Mary Anne Staniszewski: And one wonders why exhibition design's variety of means and powers of communication have been collectively forgotten, for the most part, by the art historical and museum establishment. 18

Condorelli: It takes a lot of work to make a white cube, all that blankness . . .

Wade: Making things come together and cross over is complex and messy, you see quite a few layers of activity at the same time, including the supports. Maybe it comes down to our intention: we want to share the space; we can introduce it, but can never give it all away. We can just give pointers in how to use it, how to experience and interpret it, or how to work with it. And it is difficult—it makes people feel awkward.

Condorelli: I often wonder why libraries never host book production? While writers might go there to research and write texts, no books are published in libraries, just as no consumables are made in shopping malls, and nothing that gets sold in supermarkets actually gets made in them . . . Our challenge for a space for art is wether it can be made as a place that hosts artists, art production, and its distribution. Like inviting writers to make books in the library, that are printed there and then put on the shelves. I guess a cumulative art space that hosts production is also another way of thinking about duration and legacy. What is the validity of making exhibitions today, and can we make exhibitions that are of their time? What is the role of exhibition-making as opposed to just art making?

Lissitzky, through the voice of Gavin Wade 19: If we define the super structure of our environment through responses to synergetic spheres of contextual influence then we have to take on board the complexity of fluctuations in our reality findings as opposed to our speculative projections. In between we discover, nurture and utilize a new public sphere. This is the purpose of the space, and it only becomes more clear as we try to keep up with the ecological deviations of a strained society. Equilibrium is no longer our goal. Instead the portability of our beings through the reconstituted technological super-complex leads us to skip from equilibrium to overload. Through understandings of imbalance, and overlaps of being, our energies can be concentrated towards new modes of reflection, expression and above all Revolution.

Wade: I think this is what exhibition making should be really, a challenging of what it means to produce structures, just as artists challenge ways of making artworks. How can we add to the situation when there has been so much examination already, of institutional setups and of exhibitions as sites of production, from the 1970s to the late 1990s? Since then, there have been spaces that tried to break down the flow of the exhibition program, like Maria Lind at Munich Kunstverein; it featured a show lasting a year while other artists came in and out, working over different periods of time, so that the whole space of the exhibition became an interrelated set of stages. If we are going to make exhibitions now, they should reflect the idea of learning things along the way and reclaim display, which is such a key element of our society. How do you make exhibitions that stand up against Twitter, as a contemporary form?

Lissitzky, through the voice of Céline Condorelli: To create functional art is to concentrate all the elements of modern knowledge, all existing systems and methods, and with these to form plastic elements, which from then on exist just like the elements of nature, such as H (hydrogen) and O (oxygen). The creator of functional art amalgamates these elements and obtains acids which bite into everything they touch, that is to say, they have an effect on all spheres of life. Perhaps all this is a piece of laboratory work: but it does not produce any scientific preparations which are only interesting and intelligible to a small circle of specialists. It produces living bodies, objects of a specific kind, new relationships and connections, new forms of knowledge, whose effects cannot be measured. 20


17 Adapted from El Lissitzky, “Exhibition Rooms”, as previously
18 Adapted from Mary Anne Staniszewski, The Power of Display (Cambridge MA: MIT Press, 1998).
19 From an interview between Wade and El Lissitzky by email from the seventh to the twentieth of September 2010, in which Lissitzky was played by the artists in Abstract Cabinet Show at Eastside Projects.
20As above.





ACT 6
Location: Narrative Show,
between story telling and wishful thinking

Condorelli: Perhaps we can look in fiction, and narrative, for a different kind of feedback mechanism. This is a story that hosts conversations and strands of dialogues, some of them taking place in a not-too-distant past, others that may have happened in the page of a book or simply in our head –or not at all. We converse with so many other voices than our own when we talk together, is fiction the only device that can contain them comfortably?

Yvonne Rainer: She knows that the content of her thoughts consists entirely of what she's read, spoken, dreamt, and thought about what she's read, heard, spoken, dreamt. She knows that thought is not something privileged, autonomous, originative, and that the formulation " cogito ergo sum" is, to say the least, inaccurate. She knows too that her notion of "concrete experience" is an idealised, fictional site where contradictions can be resolved, "personhood" demonstrated, and desire fulfilled forever. Yet all the same the magical, seductive narrative properties of "yes, I was talking …" draw her with an inevitability that makes her slightly dizzy. She stands trembling between fascination and skepticism. She moves obstinately between the two. 21

Wade: 22 We brought back how to question and interpret the life of a space through The 17th Plan. Joanne Tatham and Tom O’Sullivan approached the space in a similar way: they needed to come up with a way of positioning themselves in relation to the gallery, which was already adopting a stance similar to theirs as artists. So they turned the conversation with us into a play for us to act out playing ourselves. And I picked this up with Liam Gillick’s plays. By now Eastside Projects is not just a physical building up, joining together, and combining of elements, but a narrative. And it is exciting to imagine doing a Narrative Show.

Yvonne Rainer: We are surrounded by manifestations of reality that are not God-given but all fucked-up by human society and that must be contested and reordered by a human “Narrativizing Authority” which, by so representing them, will impart to events an integrity and coherence cut to the measure of all-too-human desire. Maybe I’m being simple-minded when I say the problem (not the solution) is clear: to track down the Narrativizing Authority where it currently lives and wallop the daylights out of it. 23

Condorelli, quoting Wade: Are you suggesting that we are all puppets acting under some misguided masters directions?

Lissitzky, through the voice of Heather and Ivan Morison 24: No. The world is understood through myths. All meaning comes to us as stories. We can take control of these stories to create our own meaning and form new myths. The midden is the detritus of society and we sit upon it, pick things from it, re-mould them and model them into objects that can act out new histories and possible futures. 25

Wade: This could also be stated as:
The world is understood through myths. All meaning comes to us as stories. We can take control of these stories to create our own meaning and form new myths. Exhibitions are the detritus of society and we sit within it, pull things into it, re-mould them and model them into objects, scenarios and events that can act out new histories and possible futures.

Which could be interpreted as:

John Latham: Context is half the work. 26

Condorelli: Using fiction in this way can be liberating. Whatever is happening with the space can be considered as merely one of the possible stories that could take place, and the characters that appear can come in and out like in so many scenes. This might be a way to structure this text… with someone like El Lissitzky who is a very important voice in the making of Eastside Projects, as are a lot of the artists that have shown here. Your voice is almost constant, and Ruth Claxton’s and James Langdon’s are very present, Simon Bloor’s, Tom Bloor’s, and mine come in and out. That’s quite a nice way of thinking of Eastside Projects over time, as a play that just carries on, and each show a particular scene . . .

Wade: It could become a script that's never acted, while what's performed in the space is one amongst a possible set of choices that the space allows.


21 Adapted from Yvonne Rainer, Looking Myself in the Mouth, October volume 17, Summer 1981, p65
22 Céline Condorelli and Henrik Schrat, Strati, Hopfl, Monthoux and the Seventeenth Plan?One-Day-Comic, EP9?(2008).
23 Adapted from Yvonne Rainer, Looking Myself in the Mouth, October volume 17, Summer 1981, p65
24From an interview between Wade and El Lissitzky by email from the seventh to the twentieth of September 2010, in which Lissitzky was played by the artists in Abstract Cabinet Show at Eastside Projects.
25Ibid.
26Maxim of artist John Latham, (1921-2006).











ACT 7
Location: Volvo Bar

The Director: How about that. I always wanted my own bar. We have created the conditions for the experimental, but no actual experiments and vice-versa. Micro-communities of redundancy have joined together playing with the difference between art time and work time. 27


27 Gillick, A “Volvo” Bar, n.p.
A previous version of this text was published in Manifesta Journal #10: 'The Curator as Producer', winter 2010-11
and a future version is forthcoming in The Archive as a Productive Space of Conflict, edited by Markus Miessen and Yann Chateigne, Sternberg Press, 2011
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