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Circular Facts
Publication, 01 Oct 2011Print

Texts by Mai Abu ElDahab, Melanie Bouteloup, Will Bradley, Beatriz Cavia, Binna Choi, Anna Colin, Kim Einarsson, Krist Gruijthuijsen, Anthony Huberman, Miren Jaio, Heejin Kim, Maxine Kopsa, Francis McKee, Isabel de Naveran, Emily Pethick, Natasa Petresin-Bachelez and Leire Vergara 
Edited by Mai Abu ElDahab, Binna Choi and Emily Pethick 
Design by Kaisa Lassinaro 
Co-published by Casco Office for Art, Design and Theory, Objectif Exhibitions, The Showroom and Sternberg Press, 2011 
96 pages, English 
ISBN 978-19-341-0565-8 
Price: 15,00 
 
SOLD OUT VIEWING COPY AVAILABLE AT CASCO 
 
Circular Facts discusses the role of 'small' contemporary art organizations in the cultural field and how they envision their futures. 
 
Circular Facts is a collaborative endeavour between three European contemporary art organisations: Casco Office for Art, Design and Theory, Utrecht, Objectif Exhibitions, Antwerp, The Showroom, London in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. Circular Facts is running from November 2009 November 2011, and is supported by a grant from the European Union. 
 
The project acts an informal think-tank and a mutual support structure that works as a hub for the production and dissemination of artistic projects. The emphasis of the collaboration is on finding non-bureaucratic ways of working together, the sharing of imaginative thinking, and enacting open-ended forms of circulation. Beyond our common interest in maintaining a climate conducive to artistic creativity and criticality, is a desire for a pragmatic and sustainable model for co-production, which we hope to continue beyond the scope and duration of this particular project. 
 
The organisations involved have a common focus on supporting artistic practices that have a critical engagement with ways of thinking around our contemporary conditions, in particular through foregrounding different forms of artistic research. Through our collaboration we are interested in expanding the possibilities of what an art organisation can be in order to best facilitate and understand these kinds of practices, which is something we believe we can do most effectively together.