Kevin Brazil's review of Documenta 15 in yesterday's art-agenda mailing suggests this half-decade's iteration lacks the prescience of Roger Buergel and Ruth Novak's Documenta 12, which ushered in the era of the curatorial artist (prescience, like market forecasting, being curation's gift to a consumer society), and gives us instead contemporary art's so long to its current moment and hello to its TL;DR hour. A highlight of the review is Brazil's description of a board game (my bolds):
The Speculative Collective Board Game, developed by Gudskul and available to play on a table inside the Fridericianum, is a role-playing game in which players “act as members of an art collective” in order to foster “co-operating, sharing resources, problem solving, and decision making.” Players face challenges like a member starting a family and therefore having less time to give to the collective endeavor. The resolution of a conflict improves the collective’s “bonding” and increases its “social capital.” Success is thus measured by metrics resembling the funding structures that bring a collective into being, and the formation of aesthetic subjectivity made equivalent to a training in assessment, evaluation, and impact. This game suggests that Gudskul imagine their audience as consisting of aspiring artist-administrators and that, for the general public, the art collective is a model for improved social relations.
After Brazil's article I found myself reading a mail-out from C Magazine thanking "the publication's first queer editor" in tribute form, the likes of which I associate more with a religious ceremony or a shareholders meeting. For those interested in walking a mile in Jac Renée Bruneau's shoes, consider this:
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