I propose to make some 20 white cubes, probably 20x20x5″,
inside of which 20 artists will display their work.
There won’t be many rules to start with, but I will set forth some guidelines drawn from 13 years of experience as a member of a communal studio which functions within a gallery.
The first guideline is: each white cube will have an opening custom-made to allow a viewing experience apart from all others.
As result, although the 20(sh) cubes will be exhibited in the same space, the viewer will be able to absorb the contents of only one at a time.
20(sh) “solo” shows will thus be displayed simultaneously, plus one “group” show
(the contents of the “group” show will be decided by the Group.)
The Group will be formed by artists who will have agreed to provide artwork to be shown in one such private white cube, which means they will have consequently had signed up to work for the Group the same amount of time I will have had invested in making the cube she/he will use.
The cubes will all be white in the exterior, but the interior may also be customized.
The range of options of what shall be meant as “work for the Group” will be decided by the Group. I will suggest that to be circumscribed within the boundaries of a) this project promotion (documenting, fundraising, etc); b) production/publication of art criticism; c) volunteering for the communal studio/institution where the cubes will be made; and/or d) volunteering for an organization such as Fountain House.
As for the art to be displayed, the artists will choose whether to
a) work within his/her field of inquiry
or
b) use as motive the experience of working for/with the Group.
The curatorial cut I will employ is an equation of what I perceive as a) an individual’s commitment to an artistic practice; b) an individual’s awareness of the influences her/his choices of inquiry have brought upon themselves and c) an experience I would have previously had of working with these artists in a fashion such as to have had the workload harmoniously shared – in other words, people who I look forward to work with again for knowing that within a given set of constraints the work dynamics are biased toward fairness. Consequently the Group demographic will be: ethnically diverse; 30’s-60’s years-old; female in majority.
In essence, I propose the job of the curator to be the job of a facilitator in an experiment of art market cast barter, establishing as currency the time we artists will have spent together and separately creating a reality for our work to be experienced.
Hours spent at meetings (or absences) will be currency; tardiness resulting in pressure over the production chain will be charged at equal rate with intellectual chores. For example, as an artist I will add to the sum of hours owed to the Group, hours traded for my labor as a craftswoman, hours which will be paid through my administrative role.
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Random Reports is a series of poems by Barbara Henry derived from vocabulary lists chosen by chance and choice from the first section of The New York Times. They reflect the spirit of the day and are specifically dated, and the subject of the poem is strictly a result of the wordlist.
my long time obsession with limp vellum bindings, finally fully indulged.
and there is even an explanation for it:
as for the content, after many weeks working long hours to finish it up in time for the spring Book Fair, all I can say is I hope you will enjoy as much as I do (meaning, even though I’m completely exhausted it still tickles me, as a puppy or a kitten that keeps one awake the whole night would)
as in “breathing”/”forgetting-breathing.” 
I understand proper labeling is an important function, I guess. But, what if one’s interest falls exactly in the conflict zone?
ana paula cordeiro 