Christopher Meerdo, PARSER, 2022 (detail), courtesy of the artist
Fear of Property
Sep 10 – Nov 6, 2022
The Renaissance Society
Chicago, USA

Property: something protected or shared or forcefully taken, something gained or lost or desired or enjoyed. Private property plays a role in well-being, some philosophers have argued, but it’s also been the basis for all kinds of exploitation, as history has shown. Either way, so much has come to rest on this concept. It’s an abstract idea that shapes concrete reality in profound ways, shadowed by questions of who owns what, and why, and the friction of public and private interests. As time goes by, property also comes in many different forms: some are physical, others increasingly intangible, some deeply familiar and others leading toward unknown horizons.

Fear of Property develops out of ongoing conversations with artists around these ideas, various related histories and emerging futures, and a range of lived experiences in between. The exhibition also gradually builds on the intuition that property organizes not only social and economic relations, but dimensions of emotional l­ife today as well. The works on view have their own unique contours of feeling as such, even as they draw out concerns around ownership and agency, land and the buildings we inhabit, caretaking, culture and language, artificial intelligence, and more. And some of them might hint at ways of being in the world that aren’t framed in terms of “property” at all.

The exhibition title itself is drawn from an essay by cultural anthropologist Cameron Hu, where he speaks to the underlying logics of futures trading while reflecting on the work of artists Marissa Benedict, Daniel de Paula, and David Rueter. His closing insight in that essay, a “fear of property,” points to disembodied financial inventions that still ripple outward today. In this exhibition, his concept opens up other paths for thought, too, spreading out into many different contexts.

Presented concurrently in two settings, Fear of Property features works by thirteen artists installed in the gallery and six videos by Karrabing Film Collective, Pedro Neves Marques and Andrew Norman Wilson online at Renaissance TV, where they can be viewed throughout the run of the show.

Curated by Karsten Lund.

  • Lutz Bacher: AYE!
    Oct 5 – Dec 17, 2023
    Raven Row
    London, UK

    This exhibition of the unsettling, uncategorisable work of American artist Lutz Bacher (1943–2019) explores her use of music, sound and voice. Bacher’s work oscillates between the conceptual and the visceral. Much of it involves appropriation, using material from American popular culture and flotsam from the information age (pulp fiction, self-help manuals, trade magazines, scientific publications, pornography, bureaucracy, discarded photographs), in work that can be intimate, violent or funny. (more…)

  • Skin In The Game
    Sep 14, 2023 – Jan 7, 2024
    KW Institute for Contemporary Art
    Berlin, Germany

    Skin In The Game presents seminal prototypes from the personal archives of internationally acclaimed artists, dating back to the 1970s and crossing over into the present. The exhibits include experiments never previously shown, from paintings to sculptures, to banners, video performances, photographs, collages, drawings, books, and concept notes. The works focus on that moment of professional and existential emancipation when these artists threw their skin in the game, and gave their all to art. (more…)

  • Nonmemory
    Sep 15, 2023 – Jan 14, 2024
    Hauser & Wirth
    Los Angeles, USA

    Through a variety of media and material, the artists in this exhibition use space as the repository for dreams, fantasies, traumas and anxieties, while offering opportunities to re-imagine and recreate reality. The title of the exhibition Nonmemory, takes direct inspiration from Kelley’s use of the term, a way of treating, reordering and representing the complex and unstable relationship between memory, space and identity. (more…)