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Justina M Barnicke Gallery 
Hart House, University of Toronto

January 24–March 16, 2013

A Project by Charles Stankievech

With contributions by Anonymous, Abbas Akhavan, George Antheil, Gregory Bateson, BBC, Walter Benjamin, Lene Berg, Black Cat Systems, Sir Anthony Blunt, Mel Bochner, Bertolt Brecht, Adam Broomberg + Oliver Chanarin, Bill Burns, Canadian Army, Raymond Cass, Center for Land Use Interpretation, CIA, Lt. Col. Jim Channon, Dana Claxton, Jean Cocteau, Salvador Dali, DBI Architects, Jan Dibbets, Encounter Magazine, Arthur Erickson, Harun Farocki, FBI, Coco Fusco, Dan Graham, Hizbollah, Albert Hofmann, Douglas Huebler, Israeli Defense Force, Donald Judd, Yves Klein, Joseph Kosuth, Hedy Lamarr, Alfonso Laurencic, An-My Lê, Libyan Minister of Culture and Ethnic Affairs, Lucy R. Lippard, El Lissitzky, Mark Lombardi, Gordon Matta-Clark, Simon Menner, Major. Vera Michael, Lee Miller, Richard Mosse, Sang Mun, MoMA NYC, NSA, Trevor Paglen, Palestine Arab Delegation, Roland Penrose with David Sherman, Queen's Press, Walid Raad, Fabian Reimann, Steve Rowell, Peter Paul Rubens, Raúl Ruiz, Ed Ruscha, Paul Ryan, Secret Level, Joshua Simon, Robert Smithson, Edward Snowden, Anna-Sophie Springer, Charles Stankievech, Deborah Stratman, Abbott Handerson Thayer, Tor Project, Tamas St. Turba, Ubisoft, US Army, Paul Virilio, Edward Wadsworth, Eyal Weizman, Wikileaks, Ludwig Wittgenstein, Amir Yatziv, Philip R. Zimmermann, and others.



Research Desk at the Curatorial Archives, National Gallery of Canada, File no.6092



FEB 19, 7-10pm
Gallery TPW
1256 Dundas St W, Toronto
+1 416-645-1066

Intelligence is Knowledge with a Shelf Life is a participatory workshop on curatorial methodologies and the contemporary role of the exhibition. In dialogue with his exhibition project CounterIntelligence at the Justina M. Barnicke Gallery, Stankievech will lead a discussion on recent developments in the field of archival exhibitions, cultures of display and the entanglement of art and theory. The workshop will explore the conditions — disciplinary, institutional, and political — under which new methodologies might emerge. 

Can the contemporary role of the exhibition escape the “no man’s land between the didactic museum and the conceptual gesture”? How can we engage with art and artefact on the same level without flattening everything as information? Can an archival exhibition avoid the reduction of content to an indexical function and instead be configured as a manifestation capable of generating an affective, immersive experience? What kinds of structures can allow us to imagine different forms of engagement? 


Participation Requirements:
1. See the exhibition CounterIntelligence on view at Justina M. Barnicke Gallery, Hart House, University of Toronto
( ExCounterintelligence.html
2. Register with Kim Simon at Gallery TPW ( The workshop is free. Space is limited to 16 people. 
3. Read the designated texts in advance of the workshop.

Required Readings (click red links to download pdfs):
F. M. Begoum (CIA), "Observations on the Double Agent" in Studies in Intelligence Journal, 1962 (16 pages)
Paul Virilio, "The Monolith" in Bunker Archeology, 1975 (11 pages)
Céline Condorelli, Support Structures, 2009 (5 page excerpt)
Boris Groys, Google: Grammar Without Words, 2012 (13 pages)

Recommended Readings (click red links to download pdfs):
Eyal Weizman, "Walking Through Walls" Ch.7 in
Hollow Land, 2007 (33 pages + footnotes)
Alexander Galloway, "Edges" in
The Exploit: A Theory of Networks, 2007 (7 page excerpt)

Recommended Viewing (click red links to watch videos):
Adam Curtis,
All Watched Over By Machines of Loving Grace, 2011 (episode.01 | episode.02 | episode.03)