Working in a position close to the market also entails being able to directly deal with the mechanisms of value creation, to explore them, and perhaps also to interrupt them or turn them around.
Being involved in market mechanisms enables a critique that lets market-economy processes appear not as a natural outside—as a quasi-natural force—but instead clarifies the complex interrelations between economic processes, subjectivization, and the interrelatedness of one’s own life with the market. These correlations threaten to disappear when one imagines the market to be an outside.
What I mean [by “experimental gallery work”] is a form of gallery work based less on existing models of representation or intent on expanding them, than on working with significant deviations within the organizational form of a gallery, with the aim of addressing the contradiction in mediation work between art and the diverse economies in which artistic, curatorial, and—not least—commercial practices are integrated. This applies not only to the relationship between critically connoted artistic approaches […] but in a broader sense also to the roles and rules according to which a gallery functions in a more or less pronounced was as an enterprise and social space.