People often ask what I mean if I say that the private is political. It means for me that we develop beliefs and thought patterns based on our private experiences, it means that we will engage more passionately with experiences that we share and it also means that we need more radical empathy in a time that can feel like we are so different. So here I am taking a bold step and walking the talk...
Read MoreThe online dictionary Merriam-Webster defines neutrality as "the quality or state of not supporting either side in an argument, fight, war, etc. : the quality or state of being neutral". The question is whether institutions who deal with primary sources, historical and contemporary narratives and a culture that decides which discourses get public attention should engage in neutrality? My opinion is that Museums are not neutral.
Read MoreA few months ago I started with the interview series on what success looks like to arts professionals and people working in the creative industry. It is an attempt to redefine what success is and find personal attempts to define a sustainable definition of creative work.
Anastasia Karpova Tinari is the Director of Rhona Hoffman Gallery, Chicago, IL. She recently started her own project space, Anastasia Tinari Projects to exhibit more emerging contemporary artists.
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In several interviews I ask curators, academics, artists and other friends and colleagues from the creative field what their thoughts are on what success in the arts looks like for them. It is part of my long-term project "Art as Labor" that tries to approach labor issues in the arts and provide more personal conversations. It is not about working harder and to buy into the narrative that sacrification will eventually lead to success but about finding a sustainable way to work in the arts and to understand that creative work is a long-term commitment.
Read MoreWe are told the myth that working harder will be rewarded one day with success. The problem is that sacrification does not necessarily lead to the expected outcome and leaves us drained instead. We need to find a more sustainable approach if we talk about work, in particular if we're talking about creative work. In several interviews I ask curators, academics, artists and other friends and colleagues from the creative field on their thoughts on what success in the arts looks like for them. It is part of my long-term project "Art as Labor" that tries to approach labor issues in the arts and provide more personal conversations. It is about finding a sustainable way to work in the arts and to understand that creative work is a long-term commitment.
Read MoreSummer is finally here and if you need some recommendations for your reading list, here are some of my highlights:
Read MoreA few months ago I started with the interview series on what success looks like to arts professionals and people working in the creative industry. It is an attempt to redefine what success is and find personal attempts to define a sustainable definition of creative work.
Since I started with the interview series I got an overwhelming feedback of people asking me if there are things left out in the editing process or if there are other behind the scenes or learnings I could share.
Read MoreWe are defined through our values and principles. As Michelle Obama said so perfectly "If they go low, we go high".
Read MoreThis interview is part of the series where I ask colleagues, artists, museum worker and other workers from the creative field on their thoughts on what success in their fields might look like. It's an attempt to facilitate a more personal perspective into the labor conditions in the creative field and to demystify the myth that sacrification will be rewarded with success one day. We need to find a more sustainable approach if we talk about work, in particular if we're talking about creative work. The interview series is part of my long-term project "Art as Labor" that tries to approach labor issues in the arts and provide more personal conversations.
Read MoreWe are told the myth that working harder will be rewarded one day with success. The problem is that sacrification does not necessarily lead to the expected outcome and leaves us drained instead. We need to find a more sustainable approach if we talk about work, in particular if we're talking about creative work. In several interviews I ask curators, academics, artists and other friends and colleagues from the creative field on their thoughts on what success in the arts looks like for them. It is part of my long-term project "Art as Labor" that tries to approach labor issues in the arts and provide more personal conversations. It is about finding a sustainable way to work in the arts and to understand that creative work is a long-term commitment.
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Anabel Roque Rodríguez is a curator, writer and art historian based in Switzerland and Germany, but open to travel to other areas. She is interested in the relation of art to the public and site specific conditions. She works within the realm of contemporary art with strong roots in its historic past. To understand an development, one has to situate it retrospective. Her focus includes political art, the artist as activist, art as labor, feminism, photography and the art market.
The writing on this blog is free but not cheap, it's build on hours of collecting, thinking and composing.
You can support this labor through a tip.
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© Anabel Roque Rodríguez 2021
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