The idea of publishing cases is to highlight illnesses in the system as a whole. "Our approach is more about highlighting structural problems. For him, the project isn't about creating a Wikileaks-style media sensation, rather a critical inquiry into the dependence of artists on the state or the market - what critic Clement Greenberg famously described as "an umbilical cord of gold." He got involved with Artleaks six months after it was founded. London-based Morariu is a Romanian researcher and curator specializing in institutional critique. He and his Artleaks colleague Vlad Morariu were in Cologne this week to discuss the project and the themes of the first edition of their Artleaks Gazette at a salon event titled "Artleaking as a Politics of Truth" at the Academy of the Arts of the World. Vilensky is a member of the Russian art collective Chto Delat? ("What is to be done?"), whose negative experiences working in collaboration with the Pavilion UniCredit gallery in Bucharest - including the non-payment of fees and censorship issues - provided the catalyst for Artleaks. "One can speculate how far art 'leaks.' But the idea of leaking, the concept of some information that was not publically known becoming public, is key," Dmitry Vilensky, one of the initiators of the project, told DW. Its motto is: "It's time to break the silence!" Taking inspiration from Wikileaks, Artsleaks was formed by a group of artists, curators and art historians and critics in 2011 to speak out against the appropriation of politically engaged culture and to expose instances of abuse and submit them to public inquiry. Cultural institutions may take pride in marketing themselves as zones of creative freedom, a place to break rules, a space for critical inquiry - but a collective international platform for cultural workers has a different story to tell.
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