Museum of Contemporary Commodities: a research performance

The materialities and injustices of the 'prolific present' are overwhelming, making attention to the production, consumption and disposal of 'stuff' an urgent matter of concern. Presenting as automatic and only partially visible, creatively constructive acts of ‘dataveillance’ are integral to this explosion of stuff; conditioning our daily lives as milieus of consumption that channel profit to the propertied classes, often with socially and environmentally damaging consequences (Gabrys 2016, van Dijck, 2014, Tsing, 2013). Constructing the agency to intervene in these socio-technical valuing practices and cultural performances, requires us to consider our roles in those performances, as much as theorising the constituting structures, strategies, and (in)justices of their production. The Museum of Contemporary Commodities is an art geography research performance that is both a collaboratively produced dramaturgy of valuing, and an experiment in public curation as transformative process (Heathfield 2016, Graeber, 2013, Richter 2017). The project manifests as a series of digitally networked hacks, prototypes and events that attempt to configure new alignments between the social, material and digital that are localised and mobile, stable and reconfigurable, familiar and new (Suchman et al., 2002). These are art geographies as collectively produced critical making and social practices, which encourage audience-as-participant move from 'automatic' taking part in the unfolding immanence of the world, to feeling it more deeply. By extension attending to and caring for the ethical and political implications, and the material things that participation produces (Cull, 2011, Puig de la Bellacasa 2012).