When thinking about distribution in art, we imagine trucks and padded crates going "nail to nail". However, in a broader perspective, one has to include city planning, cash flows, data sets, and democratic values among the elements distributed in the slipstream of the unique artwork. What forms do these derivatives take? How do these models of distribution feed back into artistic practices? What would be a "best practices" of distribution, both for artists and institutions?
A discussion between artists and curators, moderated by Tirdad Zolghadr (KW Institute for Contemporary Art, Berlin).
Initiated by Peter Lemmens and Laurens Otto
Organised by Vlaams Cultuurhuis de Brakke Grond
Coordinated by Timo Demollin, Peter Lemmens, Laurens Otto, Nasrin Tork and Astrid Vereycken
Respondents: Karina Beumer and Brenda Tempelaar
Supported by Curatorial Studies, KASK & CONSERVATORIUM School of Arts Gent