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David Goldenberg

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Think tank for thinking about the year 2030 - TT2030 - Ilze Black (Latvia), David Goldenberg (UK), Wim Salki (NL) - - - Think tank for thinking about the year 2030 is a collaboration of practitioners who have come together through the mutual research into techniques that look at breaking down a normalized system of art – via the examination of participatory practices, working across different platforms, exploring and encouraging communication. - The scenario, or what if situation, set up within the exhibition S.T.R.U.K.T.U.R. is intended to raise question’s about the form or model art currently assumes. This is planned to take place through dissolving our idea and memory of this system of art by projecting forward to the year 2030.

Speculation on the year 2030 allows the possibility of freeing the mental space necessary for disengaging from the system, form, material and thought patterns preoccupied with existing within this model. However, this speculation is not intended to remain on the level of the idea but instead plans to return to examining the practicalities for implementing the steps necessary for materializing a new model. - Speculation on the near future provides the possibility to anticipate or encourage changes to the existing system. What happens in the year 2030?Will the form that society and art that we are familiar with continue to replicate itself?, or will there be fundamental changes? What possibilities exist for developing new models or for the existing model to vanish? - In this fictional scenario we are anticipating that by the year 2030 a new model under the umbrella term of a Post Autonomous practice will be in place. The purpose of the think tank is to invite a wide range of people to pool their ideas to look at the route and steps that lead towards the materialization and implementation of a Post Autonomous practice.

This What if scenario allows a wide range of people to, without contradicting ourselves, the freedom within the fiction of art to push an idea of art to its limits. This allows the possibility of looking at bringing art to an end before going on to speculate whether there are better models to replace the current model. Just to state the obvious, the problems or difficulties inherent in the process of speculating on new models within art highlights the limits inherent within the model of art that is used. One last comment, in trying to develop new models of art how do we do this without falling back into the error of using the material and thinking inherent in the model we want to replace?

David Goldenberg
New York, NY
New York
North America


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