framing it. If it’s not immediately interesting or attractive, one has to put oneself in a position that makes it interesting. No one else will serve something exciting for you. To write your way through, is to get to a point where proximity forces you away from a state of indifference and passivity. Morton adds: “as with all writing, what matters here is honesty, along with the hope that one might communicate against the odds.”
an experiment in critical writing through a multiplicity of voices responding to ‘ It’s Confusing These Days’ (201 0) a video work by Lebanese artist Paul Hage Boutros.
Chris Johnsen Sara Lindeborg Adrien Siberchicot
Some practical tools have to be developed in order to fulfill this renewed engagement. First, the format of the journal will change radically, offering more flexibility to the contributors and the possibility of working with the combination of text and images. Open calls will be arranged for articles, reviews and visual artworks such as posters, covers and more. The pagination will be also more flexible in order to welcome more contributions and more diverse writings. Every issue of WITNAS will be singular, trying to react to the current and relevant issues of the art scene. At the same time, the different issues of the journal will be published online on a new website, extending the paper version with a hyperlinked edition. This version will be an attempt to emancipate the journal from the publishing constraints and the hierarchy of the text with the possibility of reading the contributions individually. The WITNAS board is working more than ever to create a sustainable platform where a generative subjectivity will be at stake. Embedded both in the art scene and art education, the contributors of WITNAS will represent a wider range of people, discourses and narratives. In this issue, the 6th Gothenburg Biennial will be examined through notions of authority, and more precisely through the way it organizes and puts together artists—in other words, the way it “makes sense.” The contribution by Patrik Haggren develops issues surrounding representational and political authority through the lens of "Surplus Work: the non/display of the Swedish Labor Movement Art", an exhibition he co-curated with three other students at Galleri Rotor this summer. Finally, Laura Hatfield’s project ‘WITNAS Responses’ is
1 . J.J. Charlesworth, “Criticism v. Critique” Art Monthly 346, May 2011 2. Tom Morton, “Three or Four Types of Intimacy,” in Judgment and Contemporary Criticism: Folio Series: A, Eds. Jeff Khonsary and Melanie O’Brien (Vancouver: Fillip Editions/Artspeak 2011 )
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