Liam Gillick: Contemporary art becomes another historical style

“Art in its new contemporary form is about as relevant as some arcane forms of rock music would have seemed to a punk. The idea of teaching it without the ability to truly dedicate time to the super-subjective potential of any artist now seems laughable and impossible. Contemporary art becomes another historical style with a specific history for study – alongside Rococo and Fauvism.” Liam Gillick and J.J. Charlesworth, “Is This the End of Contemporary Art As We Know It?“, in Art Review, 29 September 2020

Carolyn Christov-Bakargiev: Art and Technology

“Artists who fetishize the medium, whatever that medium, they’re just generally not good artists. A good artist, a real artist, will reflect on the implications of a technological revolution like AI and they’ll use it to show certain implications on our subjectivity […] Art has only a little bit to do with creating innovative forms or imagining new patterns. Art is rather a kind of empirical philosophy. It’s like doing philosophy through practical means.” Naomi Rea, “Super-Curator Carolyn Christov-Bakargiev Talks About Hito Steyerl’s Latest Work and Why AI Is Actually ‘Artificial Stupidity’”, in Artnet News, November 26, 2018

Boris Groys: Art = Migration

“[…] contemporary art does not have a narrow, elitist view, but, on the contrary, a broader, universalist perspective that can irritate local audiences. It is often the same kind of irritation that migration provokes today in Europe. Here we are confronted with the same phenomenon: the broader, internationalist attitude is experienced by local audiences as elitist—even if the migrants themselves are far from belonging to any kind of elite.” Boris Groys, “Curating in the Post-Internet Age”, in e-flux Journal, issue #94 – October 2018