Underground Flower is an offsite curatorial platform.
Decentralized, we produce exhibitions in unconventional spaces.
Our exhibitions explore four primary areas:
1. Experimental curatorial practises that disrupt the standard flow of institutional relations and relationships to artifacts. Spontaneous selection (unauthorized image selection based on methods of divination, randomization, synchronicity and ephemeral attractions) and retrocuration (contextualizing disparate images to give the impression of a cohesive "show") are examples of these modes.
2. The liberating potential of a disposable pseudonym. Visibility, of course, is a trap; UF offsites invite artists to work under a new identity of their choosing. This allows us to experiment with ideas that might fall far outside our usual practises.
3. Lightweight, slim, low-cost offsites which still maintain a high standard of formal expression. What is the most basic relation between the site, the artwork, and the documentation? What loopholes might we find between these? Could the art be simply a context clue, or a signpost in a greater relational plot? What kind of sites could be considered an exhibition space?
4. Last but not least, Underground Flower beckons toward a spiritual practise of engaging our environments around us - right now, in any place - through networked and embodied rituals on a damaged planet. Our ethos derives from our core members' histories of living within extinct and illegible subcultures - ducking, weaving, and dwelling in the interzones and undergrounds of life across numerous locations.
Underground Flower is open to cooperation with curators, artists, and workers in other mediums.