What is the function of the studio? What does it say when we are lining up to have our faces slapped? How is it possible to speak when it is not possible to discern a coherent self? Do you know what they look like out of context? Instead of intertextuality, can one perhaps speak of an intervisuality? What might “similarity” or “difference” mean, in terms of this “purely visual,” without any linguistic interference? What is paper curating? What do you think this is “about”? What could “dangerous,” “radical,” or “political” art be when coveted by the authorities? Have we met? How do we build a rigorous and meaningful conversation, if the very shared terms we aim to utilize are forever themselves under debate? Is there a space for art outside the market and the state? In defining a more productive public role for the studio, what representations could help visualize and define the conditions and ambitions of artists working today? Is violent art possible? Is that any way to treat a star? How can someone be so charming and such a shit? What is it about the curating of contemporary art today that decides such a gendering of its education? Can the multitude of physical and virtual spaces in which they currently take place still be defined as a “studio”?
An online journal for curatorial studies, with recent contributions by Michael Baers, Martin Herbert, Natascha Sadr Haghighian, Hito Steyerl, Suhail Malik, Nathan Lee, Jörg Heiser, Stuart Comer and others.
In November 2012, Red Hook Journal launched a new design format, developed to fully embrace the Journal’s presence on the web. Rather than mimicking print by being organized into distinct issues, new content is made available on a continuous schedule, allowing editorial time zones and older material to overlap in dialogue with new.
Red Hook Journal can be seen here.