In Support is an attempt to look at artistic practice as a practice of support. Support is essential in today’s world of plural crises. In contrast to the atomized individuality of the precarious subject, support is a call for togetherness and relationality.
In Support is a process of coming together. What began as a monologue quickly multiplied into a dialogue with the invited artists, designers, and activists. This beginning can be located in the question, What we are in support of?, regarding the unspoken, the unsatisfied, the late and the latent, the in-process, the pre-thought, the not-yet-manifest, the undeveloped, the unrecognized, the delayed, the unanswered, the unavailable, the not-deliverable, the discarded, the over-looked, the neglected, the hidden, the forgotten, the un-named, the un-paid, the missing, the longing, the invisible, the unseen, the behind-the-scene, the disappeared, the concealed, the unwanted, the dormant (Céline Condorelli). As with any support structure, the positions between artists, designers, activists, performers, curators, and managers switched, expanded, retracted, evaporated. Looking at a brick wall one cannot decide which brick is the most important, as the wall can also be seen as a woven fabric.
When we think of support we immediately think of position and practice. Support requires proximity, as it’s impossible to maintain from a distance. Art is a stimulus for political imagination, and imagining together is essential. The individual’s position and the position of the collective belong to the same horizon. As Rirkrit Tiravanija puts it: It is time to give up being an author and become a wall or a floor instead, which is a kind of support structure for things to happen on. Authorship demands interest, and, borrowing from Marx, we can conjure its limitations as follows: Interest has no memory, for it thinks only of itself … it never forgets. But it is not concerned about contradictions, for it never comes into contradiction with itself. It is a constant improviser, for it has no system, only expedients. Authorship absorbs everything, and it does so through the support of state apparatuses. Support as a concept doesn’t only belong to us. This is why this project emerges from the necessity of looking in detail at support rather than authorship. And if we apply this way of looking to the artworks in these vitrines, we will see that they manifest as forms of life that are both autonomous and totally integrated. Surrounded by the uninhabitable, we aim towards making the uninhabitable habitable, inhabiting between subjects, objects, and power structures.