The publication Bande à part
discusses the reasons, means, and rationales of a range of recent independent art institutions
, which often have a small economy yet create a considerable impact within their respective art scenes.
The book takes a close look at how small- to mid-scale institutional models depart, each in a different way, from the traditional formats of the white cube. Structured around a questionnaire of thirteen questions posed to 15 different self-organized art institutions including Asakusa, Kunstverein, Louise Dany, Pivô, RAW Material Company, and The Artist's Institute, the book brings together a toolbox of examples giving insights into the murky and meticulous work of constructing an institutional platform—the "hows", "whats", and "whys"—spoken of by someone on the inside, in the engine room. The focus thus revolves around the operation of alternative mechanisms, instigating unconventional hierarchies and interdependencies between artwork, artist, audience, institution—between participants and authors, agents and aliens. The institutional contributions are bracketed by an introductory roundtable by Rhea Dall, Prem Krishnamurthy, and Chris Sharp, an essay reflecting on the necessity and irreverence of Ashkal Alwan by Christine Tohme, and a conversation between Dall and Chris Kraus on collective practices.
The book is a sequel to the Bande à part conference on independent art institutions held at UKS (Unge Kunstneres Samfund / Young Artists' Society) in Oslo in 2019. Co-published by UKS, Oslo; Lulu, Mexico City; Mousse Publishing, Milan. Designed by Wkshps (Prem Krishnamurthy & Judith Gärtner).