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March 2008 - April 2009
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 Minerva Cuevas 
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 Henry Viiis Wives 
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 Melanie Manchot 
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 introduction 
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 Women and the Archive 
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 jens haaning 
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 shimabuku 
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 eileen perrier 
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 nedko solakov 
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 canal 
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 bernd krauss 
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 nedko solakov 
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 writers texts 
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 podcasts 
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 thank you 
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  Publicness and Speculative Use Value -
Lars Bang Larsen, commissioned writer for The Street


The Street brings together a group of artists in an exhibition context that addresses and mediates public and institutional spaces. In the following I intend to sketch out a history of this type of artistic practice, and try to open up a discussion of its potentials. I’m going to begin by discussing the notion of site-specific art practice. My point is not to classify The Street, or any of the artists participating, in this way; one will look in vain for this term in the curators’ presentation of the project. It would also be misleading to talk about site specificity as a genre, as it itself is the site of a struggle between different practices, and it is no longer so certain what the concept implies.

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Introduction from curator of The Street, Marijke Steedman
30 March 2008


Seven artists/artist collectives have been commissioned to take part in The Street, a year-long project by Whitechapel Gallery launched on 30 March 2008. Each were asked to develop seven week-long projects focusing on a disused shop space on Toynbee Street just off Wentworth Street, as well as to develop projects relating to the place on and around Wentworth Street, E1. Projects will usually have some manifestation throughout the rest of the year so that The Street will have an accumulative presence up until March 2009. Writers Lars Bang Larsen and Clare Cumberlidge from General Public Agency have been invited to contextualise The Street throughout the year. A publication will follow in 2009.

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General Public Agency Text

Download Claire Cumberlidge's text about The Street

Click here



The Street #2:Future Imaginaries and Notions of Progress Around the Time of Whitechapel Art Gallery’s Founding

In thirty million years, when the monster crabs will have disappeared from the desolate shores of the Thames and the dying huge red-hot dome of the sun will have obscured the sky, the world will be reduced to a handful of darkness. That is if we paraphrase the end of H.G. Wells’ novel The Time Machine (1895), in which a Victorian scientist flings himself “into futurity,” and lands in a distant era where the elf-like Eloi have been subjugated by the sinister underground Morlocks, both races descendants from the human race.


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