This research begins from the position of certain artistic practices that are rendered powerless and stifled when faced with today's exhibition practice. It is based and supported by a personal collection in process of 'artistic practice paraphemalia': take-away or taken away material collected from the exhibitions over a period of the last five years. This self-archiving of the present is instigated organised through following questions:
• How these symptomatic artistic practices can recognise their anxiety as a state that can be prerequisite for criticality?
• If the artist places her focus on the 'peripheral' activities in the context of exhibition making, rather then on the production of the exhibition, how will this change the interface between the institution, curators, critics, academics, collectors, dealers, cultural workers and the public?
• Can such a way of working provide an alternative understanding of the interdependence between artistic practice and exhibitions in the larger context of understanding social power structures and economical circulation?
• Will this way of working then change what is considered to be an artistic activity and if taken radically will it weaken the borders of how critique can be done?
• What would a practice of 'exhibiting otherwise' be?
Image: illustration developed in a.pass by Adrijana Gvozdenovic, 2018.