Like Borges’ library, a typical art [F]AIR consists of a number of nearly-identical rooms containing (seemingly) unlimited reconfigurations of possible forms, marks, lines, and pixels. Rather than Borges’ hexagons, the booths of an art fair are usually square, delineated by three walls opening on to a hallway.


Mental [E]COSOPHY will lead us to reinvent the relation of the subject to the body, to phantasm, to the passage of time, to the ‘mysteries’ of life and death. It will lead us to search for antidotes to mass-media and telematic standardization, the conformism of fashion, the manipulation of opinion by advertising, surveys, etc.Its ways of operating will be more like those of an artist, rather than of professional psychiatrists who are always haunted by an outmoded ideal of scientificity. […]


The name for the disciplinary and control practice of monitoring, aggregating, and sorting data is [D]ATAVEILLANCE, named as such by Roger Clarke, who suggested nearly twenty-five years ago that it was then “technically and economically superior” to the two-way televisual media of George Orwell’s fictional universe.


The query that crops up right away with the idea of  “visual art as knowledge production” is: “what sort of knowledge?” Hard on its heels “What marks out its difference, its otherness?” Should we not rather speak of non-knowledge – activity that is neither hard-nosed know-how nor its ostensible opposite, ignorance?