Finally, the pundits of Creative Economies and all that malarkey will be forced to confront their own bastard child: SportArt. Despite the eagerness to strip mine 'creativity' and 'leisure' in an effort to stave off economic doom, the consensual hallucination of a Creative Economy on which it rests is turning more psychedelic than value-producing. While erstwhile 'industry leaders' like super-curator Hans Ulrich Obrist subject themselves to marathon public mea culpas (cf.

The Generali Foundation, an entirely corporate-funded museum in Vienna, has acquired an enviable reputation for staging ambitious, culturally critical exhibitions. Paying homage to the conceptual art and institutional critique of the 1960s, ’70s, and ’80s, its curatorial policy has established important threads of historical continuity across several generations of artists whose importance was overlooked during much of the 1990s.

For Mark Fisher, the con- and profusion of fictions that take form around the work of Chris Marker render a single, authoritative review of his work radically insufficient. Here, in his quest to account for a Marker who is always 'more than one', Fisher treats the recent 'Art of Memory' conference on Marker's work within the field of six separate 'memories'.

Re-view 1: Memories of a Hyperstitional Practitioner

'Education systems are crumbling ... ' in a communique to the Copenhagen Free University, Howard Slater muses amongst the ruins

"Become many, brave the outside world, split off somewhere else..."
– Michel Serres

As work begins on a new theory of value within an economic landscape shaped by ‘immaterial production’ and ‘immaterial goods’, new theories of art’s role are also emerging.

The Communications Department embarks on an ambitious curatorial adventure, aiming to examine art practice that engages with corporate marketing, branding and advertising. However, the questions raised by the show are so general that its press release, asking whether it is possible to act outside brand influences and whether brand messages can be re-appropriated and detourned, borders on the naive.

The Whitechapel gallery’s show of 60s and 70s British conceptualism, Live in Your Head, has become a sort of termporary Mecca to the UK art world. Why does revisiting this strange mix of state-funded conecptualism and a by now canonised institutional crititique hold a key to understanding the yuppie excesses of the yBa’s? Neil Mulholland reveals all.