Rhodes, Venice, Brighton, London, Lyon, Bristol, Melbourne, Llandudno, Birmingham: a series of locations joined together by no reason other than Adam Dade and Sonya Hanney have stayed in hotels there. The couple appear to be - and in the most part actually are - young tourists in town for a few nights. When they check out of their rooms there is no evidence that anything out of the ordinary has happened there.
What comes after the critical analysis of culture? What goes beyond the endless cataloguing of the hidden structures, the invisible powers and the numerous offences we have been preoccupied with for so long? Beyond the processes of marking and making visible those who have been included and those who have been excluded? Beyond being able to point our finger at the master narratives and at the dominant cartographies of the inherited cultural order? Beyond the celebration of emergent minority group identities as an achievement in and of itself?
Between the late 1960s and early 1970s, small, close-knit groups of artists chose short-term collaborative projects for works that stretched conceptualist redefinitions of art to the limit, self-consciously upturning traditional artistic identities (that of the solo artistic genius being the most obvious) through cooperative teamwork. The collaborations should be viewed within the context of political and activist art as well.
