it's presenting a moral highground, the implications of which just shut out most artists from being artists

actually i think you draw the line at how u fucking represent the bodies around you -- perhaps that should be the political parameter above all else


participants in the London art world
tweeting about:
the suspected complicity of the influential London-based art collectors, Anita and Poju Zabludowicz, in the affairs of the Israeli State.
'There's nothing more boring than plonking art down somewhere,' she says in her soft Geordie accent

The London Legacy List is the charity set up by the Mayor of London's office to oversee the integration of artists into the fabric of the Olympic Park and to look after it once the Games have ended. 'We wanted to build a park hosting the Olympics,' she says, 'and not vice versa. We have a fantastic space, with accommodation for 10,000, 40 per cent of which is social housing. There's a Westfield shopping centre, community centres, schools - the OLPC has given us money to create artworks, education projects, a creative hub with artists' studios and a floating cinema, and we have a more than usual amount of fairy dust to sprinkle, so the playgrounds will be wonderful and we're hoping for a waterfall. I feel like I'm doing something

I loved Newcastle life; there was no class system, no snobbery. The doors were always open on our street and we played outside. Later I worked in my dad's warehouse in Byker, but I was very artistic and wrote poetry so I went to art college to study fine art and art history

Back on the yacht, she introduces me to Pavel S Pys, the winner of her first annual curatorial open exhibition. Pavel is curating this month's show, We Will Live, We Will See. Anita describes him as 'a rising star', adding, 'He won't need my help after this.'

We have cultural capital, but we have no actual capital. They have actual capital

In a city as expensive as London, one of the most political things Arcadia Missa can do is continue to exist, holding on to property within the stranglehold of speculative real estate. Maintaining a place of assembly in a physical space with an autonomous program offers a practicable way to organise against the complete commodification and depoliticisation of the emerging artists a gallery like this one represents. The attitude that project spaces should remain project spaces –with no security and no means for paying its artists –is a way of maintaining the imbalance of the existing art world ecology. Perhaps, there’s a way of counteracting the hegemonising effects of routine disenfranchisement that a neoliberal art market’s claim to outsourcing to temporary ‘project-based’ organisations promotes.

Sorry it’s gauche, but now this is a class issue,” offers Farkas. “Because it’s fine to sell if you do it invisibly but you can only do it invisibly if you don’t have to put your neck on the line, because you’re already rich

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