Two Days Work
I work, broadly speaking, with art and architecture, combining a number of approaches from developing possibilities for ‘supporting’ (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites, resulting in projects merging exhibition, politics, fiction, public space and whatever else feels urgent at the time.
I have been interested in the role and nature of what I call ‘support’ through three specific, yet parallel and simultaneous strands:
The first one is thinking the role of support through the performative and the theatrical, as stages and staging devices through projects like Surrounded by the Uninhabitable, SALT Istanbul (2011-2012), Revision, part 1 and 2 (Artists Space, NY 2009, and Cell Projects Space, London 2010), Green Room (White House) -a temporary public square/theatre in 4’33’’- Bregenzer Kunstverein, 2007, Theatre Pieces (stage/public plaza at Tate Triennial, London, 2006) and Alterity Display (O’Hana Gallery, London, 2004).
The second one addresses support through structures, with the 10-phase project Support Structure, with artist-curator Gavin Wade (various sites, 2003-2009), resulting in the book Support Structures (Sternberg Press, 2009), which is both a project and the creation of the first bibliography, or a reader, for a type of practice, and founding of Eastside Projects, Birmingham.
Finally, the third movement explores forms of commons and commonality, making a small, specific cut into the large question of how to live autonomously and together by focusing on old and new enclosures, forms of communing and of being in common. This aspect of my practice focuses on property relations and the quotidian, as for example in White Gold; (Social Fabric, Iniva, London 2012), “There is Nothing Left” (ACAF, Egypt, 2011-12), Life Always Escapes (Generosity is the new political, Wysing Arts, 2009), and the text piece of the same title (e-flux journal, 11/2009).