Counterpublic Triennial Expands as Invitation to Action

The third edition of the Counterpublic Triennial, titled 'Coyote Time,' opens on Thursday, September 10, across five main sites in St. Louis. Artistic director and co-founder James McAnally told Hyperallergic the event is an invitation to act and operate differently, moving beyond mere scale to support artistic practices aimed at real change.

The triennial is organized around core concepts including accountability, access, climate, infrastructure, agency, and Native sovereignty. It employs a curatorial 'ensemble' instead of a traditional team, balancing individual authorship with a collective voice. This ensemble was selected from 80 peer-recommended candidates.

Curatorial Ensemble and Themes

Each ensemble member curated a section organized around a specific theme across the city. Their focuses illustrate the triennial's expansive scope.

McAnally cited several artistic influences on his approach. He mentioned Richard Serra, whose first permanent public work, 'Twain' (1982), is installed in downtown St. Louis. He also draws inspiration from the intimacy found in the work of artists like Chloe Bass, whom he is married to, and Felix Gonzalez-Torres.

Roots in The Luminary

Counterpublic grew out of The Luminary, an organization McAnally founded in 2007. Both platforms connect art, thought, and action to drive social change. McAnally said the motivation was to create a context for artists beyond mainstream institutional viewpoints, inspired by the alternative space movement.

When The Luminary was founded, McAnally was a musician and co-founder Brea Youngblood was an artist and photographer. Others brought varied perspectives. The common thread was a recognized lack of space for artists to gather, think, and build together. That commitment later sparked projects like Contemporary Art Review and March.

Beyond Critique to Building Alternatives

The core ambition was always to move beyond institutional critique. "Critique alone isn't enough," McAnally explained. He argued that if people cannot imagine and build the institutions they want, critique becomes another instance of speaking to power without changing it.

Writing as a critic for outlets like Hyperallergic, McAnally reflected on how biennials and triennials repeatedly draw the same criticisms about their processes, audience, and resource distribution. Counterpublic emerged from asking whether it was possible to build the alternatives they imagined. The triennial operates on a three-year cycle and remains on view for three months, echoing artist Vito Acconci's idea that for something to be 'public,' it must connect at least three people.