Countervailing at the Margins

I was thrilled to read Kiran Sunar’s recent article “Countervailing at the Margins: Acts of Refusal in Simranpreet Anand’s ਮੈਂ ਇੱਥੇ ਹਾਂ (i am here)” in the latest issue of Rungh (volume 6 number 2). Reflecting on a performance work by Simranpreet Anand that was presented as part of FUSE: A Conjuring at the Vancouver Art Gallery in November 2017, Sunar beautifully describes the material and conceptual conditions of Anand’s project, reading it in dialogue with the gallery’s concurrent exhibition program (specifically Portrait of the Artist: An Exhibition from the Royal Collection) and as an act of resistance to it.

Critique has become subsumed within gallery procedures, enveloped alongside the retention of more highly patronized canonical collections. Galleries hire educators to re-educate against their own spaces, re-instating centres of imperialism while re-engaging margins of otherness. These, while fraught, provide spaces for voice and an alternate call and response. Invited curatorial counter-script is becoming an increasing phenomenon as institutional galleries realize that their approach to what constitutes art and the artist (one that maintains whiteness, men, and empire at its core) has to be examined. The curatorial re-scripting is necessary and adds value.

The question becomes: is this enough?

The situation that Sunar describes, of education departments re-educating against their institutions is obviously not ideal—art institutions would do well to have this re-education be systemic rather than piecemeal—but in the meantime, work will be done. Anand’s performance is a generous and transformative kind of engagement, one that acknowledges conditions as they are and then provides an alternative to them. It is important to note that education departments and curatorial counterscript cannot unsettle the conditions of the entrenched power of the art world without artists to work in concert with.

Or, in response to Sunar’s question, the presentation of project’s like Anand’s in spaces like the Vancouver Art Gallery is not enough. But, in amplifying work like Anand’s through reviews like Sunar’s, agency roots.


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