This practice-based research discusses critical responses to the structural pressures of 'independent' curating under neoliberalism. The study argues for politicising project-making in accordance with such values as equality, collective autonomy and interdependency. The argument contributes to current debates about the practical plausibility of politicising project-related modes of production in the expanded field of art. The thesis acknowledges that 'independent' curators are culturally and economically dependent on the same apparatus that they want to contest. My work approaches this basic contradiction as a practical and conceptual challenge that prompts a series of questions as to how to practice within the apparatus, whilst at the same time resisting the social pressures of the very same system. The methodology merges sociological analysis of the social conditions of 'independent' curating with the tacit knowledge of the forms of curatorial resistance elicited by the pressures discussed. Thus, I set aside the aesthetical contents of curatorial projects and focus on their social forms. Utilising Walter Benjamin s concepts from The Author as Producer (1934), I argue that to politicise project-making, an 'independent' curator is required to intervene in the social apparatuses of curatorial production. The thesis reveals a number of social pressures, which manifest themselves in 'independent' curatorial practice and analyses tactics that 'independent' curators develop in response to those pressures. I interpret the examples of curatorial practice, submitted to evidence my argument, both as symptoms of those social pressures and as sites of politicised, curatorial intervention. To analyse politicised curating, I introduce two central terms 'the apparatus of project-making' and 'radical opportunism'. These terms facilitate the analysis of the intrinsic contradictions and ethical complexities of politicised curating. I apply this conceptual framework to the different aspects of project-making, analysing temporal structures, modes of governance and competitive features of the apparatus, alongside politicised, curatorial responses to the pressures discussed. In order to discuss curatorial tactics that respond to the social pressures of project-making, I introduce new terms, such as 'free/slowness', 'neither a project nor an institution' and 'interdependent curating', discussed in the consecutive Chapters.

In our ‘projectified’ and ‘knowledge-intensive’ society, industrial projects have been proposed as important “journeys of knowledge creation” or “places for knowledge integration”. To date, such perspectives have mainly used traditional cognitive and contextual theories of knowledge and have thus mostly been focused on human actors and their interaction. However, other research suggests that a) knowledge can be seen as a process (knowing) and b) that projects can be seen as actor networks made by human as well as nonhuman elements.   Combining these two insights, a complementary epistemological perspective is created in this thesis. Drawing from the processual ontological notion of ‘project becoming’ and the actor-network theory notion of ‘heterogeneous engineering’, the processual concept of heterogeneous project making is suggested here. The purpose of this thesis is then to create a processual and interrelational perspective on how knowing is shaped through heterogeneous project making. The empirical basis of this thesis consists of a six-month ethnographical study of an industrial project in the telecom industry that was set up to develop and manufacture a radio base station.   The perspective presented in this thesis suggests that heterogeneous project making can be seen as the continuous shaping of past, present, future and context (knowing dimensions) which in turn shape and relate to a knowing trajectory. The notion of a knowing trajectory implies movement, a path, which is suggested here as elusive, fluent and influenced by the work of many heterogeneous actors, rather than being the result of a (socially or technologically) deterministic process. The perspective developed also conceptualises and illustrates how such a knowing trajectory takes shape. Finally, theoretical and practical implications of this perspective are suggested. / QC 20100804