Floor: 0
Tokenisable: 0%
Your certificate
Breakdown
| Floor | Your answer | Points |
|---|
Tokenisability is the ease with which an institution can hold you up as proof of its own openness. The index says nothing about the quality of the work. It measures how much of you arrives before the work does, already legible, already fundable.
The assessment has ten floors. Each floor tests one mechanism through which difference gets converted into institutional value, weighted by how often that mechanism appears in open calls, residency forms and curatorial statements. Your answers add up to a score out of 100. The artist statement floor is computed from your own text, scanned against a lexicon of roughly fifty terms in English and French that recur in application language.
| Floor | What it measures | Grounded in | Weight |
|---|---|---|---|
| 1. The ratio | How rare your category was in your last group show. Below roughly 15%, a minority member stops being a colleague and becomes a symbol of their category. | Rosabeth Moss Kanter, Men and Women of the Corporation, 1977, on skewed groups and tokens | 12 |
| 2. Legibility of origin | How early your geography appears in your bio. The artist asked to perform the role of native informant for their own culture. | Hal Foster, “The Artist as Ethnographer”, in The Return of the Real, 1996. Graham Huggan, The Postcolonial Exotic, 2001 | 12 |
| 3. The wound | Which kind of pain the work carries, and how narratable it is. Hardship as a quality label for the programme’s good conscience. Collective and topical wounds score higher than private or economic ones. | Testimonies of North African artists on the injunction to narrate their hardship | 12 |
| 4. The lexicon | How many words in your statement the forms are trained to recognise. Diversity as a language that circulates without necessarily doing what it says. | Sara Ahmed, On Being Included, 2012 | 14 |
| 5. Material | Whether the medium signals authenticity, craft or a body from across the room. | Olu Oguibe, The Culture Game, 2004 | 8 |
| 6. Absorbable critique | Whether your critique of the institution can be programmed by it. Critique becomes a genre, opacity becomes a wall text. | Andrea Fraser, “From the Critique of Institutions to an Institution of Critique”, Artforum, 2005. Édouard Glissant, Poétique de la Relation, 1990 | 10 |
| 7. Reportability | How many equal-opportunity boxes you would add to the annual report. The device never asks which ones. | Sara Ahmed, On Being Included, on diversity as document | 8 |
| 8. Precarity | How you pay the rent, and how well that precarity can be displayed. Insecurity as a resource institutions draw on. | Isabell Lorey, State of Insecurity, 2015. Gregory Sholette, Dark Matter, 2011 | 10 |
| 9. Portability | Who travels, the work or the artist. The object circulates, the body is held back, put on display, or left giving talks about a crate stuck at customs. | Coco Fusco, “The Other History of Intercultural Performance”, 1994 | 7 |
| 10. Fee elasticity | How readily you accept visibility as payment. | W.A.G.E. (Working Artists and the Greater Economy), fee standards | 7 |
Tiers. Below 25, indigestible. From 25, partially consolable. From 50, consolable. From 75, highly tokenisable. From 90, standardised.
The certificate is issued by a fictional device and carries the authority institutions usually give to documents of this kind. Nothing you type leaves this page.
| Floor | Your answer | Points |
|---|