What is the place of critique in the art world? How does the Berlin (art) scene differ from the one in, let’s say, New York? Is there such a thing as diasporic aesthetics? Cecilia Bien talks about that and a lot more with Nina Katchadourian
Nina: So you’re sick of critique.
Cecilia: In 2023 it feels like there’s an overwhelming amount of the same kind of skepticism toward institutions and we all already know the problems. That’s a problem because the solution seems to default to programming that fits the script of how to orchestrate identity politics. There’s already an absorption by global institutions, and then the critique that follows all sounds the same.
Nina: But I think you’re also sick of the way that the art world often wants to check the boxes of a certain set of formulas or correct actions, and of how predictable all this can be. And therefore maybe there’s excitement around what isn’t squarely within the art world, as you’ve said, what is not yet described as ‘art’. I think that’s really fascinating. Does that mean that you’re kind of trying to catch something before it gets codified?
I’m interested in what is not yet framed as art. I’m interested in attitudes, the impulse.
Cecilia: I’m interested in what is not yet framed as art. I’m interested in attitudes, the impulse. I am thinking about how to show ‘marginal’ work in a contemporary context without the feeling of it being used for representation, or shown in a way that has to be overexplained. What are the conditions? Maybe the answer is outside of cultural production and the art world. Fashion and music seemed to embrace ‘other’ perspectives earlier, maybe it was easier because those industries are more obviously linked to capitalism, like it is clear they exist to make money, so because the exploitation is more obvious there isn’t so much space to critique those forms of production. I am not sure.
Nina: How did you end up in Berlin? [Read more…] about Cecilia Bien & Nina Katchadourian on Art and Diasporic Aesthetics