Changing What Infrastructure Means: Instituting critical models for curatorial-infrastructural practice, artefacts and imaginaries
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Clark, Thomas. 2024. Changing What Infrastructure Means: Instituting critical models for curatorial-infrastructural practice, artefacts and imaginaries. Doctoral thesis, Goldsmiths, University of London [Thesis]
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Text (Changing What Infrastructure Means: Instituting critical models for curatorial-infrastructural practice, artefacts and imaginaries)
ART_thesis_ClarkT_2024.pdf - Accepted Version Available under License Creative Commons Attribution Non-commercial No Derivatives. Download (2MB) | Preview |
Abstract or Description
What does infrastructure institute? What can be imagined through and by infrastructure? Can the curatorial figure and reconfigure the relationship between this image and form? This thesis turns to the thoroughgoing reconfiguration of the scope of the curatorial because of, and in response to, shifts in post-global and planetary imaginaries of infrastructure. It considers how infrastructure displaces the institution as both a frame of reference and site for instituting. It tests how curatorial practices can be positioned, patterned, configured and narrated at the meso-scalar intersection of material infrastructural shifts, disinvestment and the legacies, realisation and promises of organisational imaginaries emerging because of and despite those shifts.
This thesis is constructed through a series of test cases that both stage and examine the problem as (and potential of) the embodying and embedding of infrastructural meaning-making and staging in the competing alignments of the curatorial in the following infrastructural scenes: cultural infrastructural provision in the Granby Four Streets area in Liverpool by Assemble and Steinbeck Studios (2013–); in tensions implicated in infrastructural patterns of evidence in the work of the research agency Forensic Architecture; in the formal potential in configuring open and closed imaginaries in the infrastructure-critical propositions of EURO-VISION by FRAUD (2021) and Danish curatorial project Primer; and in the capacity for ongoing transformation in scalable and non-scalable infrastructural futurity staged in Alliance of the Southern Triangle’s Protocols for Phase Transition (2021) and Feral Atlas: The-More-Than-Human Anthropocene (Tsing et. al., 2020).
Modelling difference staged to produce recursions, frictions and tipping points in the continuity promised by the convergence of infrastructural materialisation, mediation and practice, this thesis develops a sequence of transformative threshold concepts. Concerned with how this requires an ongoing negotiation of infrastructural difference, the thesis presents through these concepts a new vocabulary and set of procedures. Here, dynamic cura-infrastructural artefacts are used to situate the curatorial across the expanded temporal scenes of anticipation, performance and repetition of infrastructure. At stake is the capacity of expanded curatorial and artistic practice to create and meaningfully affect change in the intimate and planetary worlds that infrastructure imagines.
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Item Type: |
Thesis (Doctoral) |
| Identification Number (DOI): |
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| Keywords: |
Art, curating, design, the curatorial, infrastructure, institution, exhibition, regeneration, forensic turn, extraction, technology, climate, ecology |
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| Date: |
31 January 2024 |
| Item ID: |
34783 |
| Date Deposited: |
09 Feb 2024 12:00 |
| Last Modified: |
09 Feb 2024 12:06 |
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URI: |
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