Tuesday, March 9, 2010
Monday, March 8, 2010
Graduate Art Seminar Week 6
Graduate Art Seminar Week 6
Bourriaud notes that Marcel Duchamp heralds a kind of nonlinear modernity that is closer in form to that now taking shape than the twentieth-century modernity, that postmodernism claims to surpass. He says Duchamp sensed the danger of "progress" in art, and,asserted that art was "a game between all people of all times" rather than a relationship with the present.
This implies a consideration of what came before and what came after the production of a work art, be it a physical object or an event that is rooted in the present,and can only be perpetuated through memory, or the use of replique,(replication) which takes on its own form of physicality such as a theater production or recording device. "The art of post production is a product of this notion of replique...the work of art is an event that constitutes the replication of and reply to another work or preexisting object; distant in time from the original to which it is linked,this work none the less belongs to the same chain of events."
Bourriaud implies this diminution ("diluting it in time"), is ridding the work of its character as a historical fetish. He mentions Bertrand Laver, Bruno Peinado, and Sam Durant as artists who are using a" form of replique to place work in the "cultural chain" of events.
Music would seem to provide a model for this type of contemporary art where work "is no longer defined as the end point of the creative process but rather as an interface, a generator of activities." Bourriaud uses the evolution of the dematerialization of the global economy as a model for this process of devaluation of property and shift to "short-term access between servers and clients operating in a network relationship"(Jeremy Rilkin).
I do not yet understand how galleries and artists profit from these relationship networks.Perhaps they all keep their day jobs in a time when acquisition is be replaced by a "generalized practice of access to experience." This sounds a bit like theater, where the shift from tangible ownership to temporal experience evolved eons ago as a form of communal storytelling.
Bourriaud quotes Peter Sloterdijk as saying "all things must be reevaluated in terms of their transportability" and cites the Exodus as an event where God was transcoded from stone to parchment , monument to document,a diaspora of forms, that require a translation among people that will give rise to a "new common intelligibility".
Bourriaud notes that Marcel Duchamp heralds a kind of nonlinear modernity that is closer in form to that now taking shape than the twentieth-century modernity, that postmodernism claims to surpass. He says Duchamp sensed the danger of "progress" in art, and,asserted that art was "a game between all people of all times" rather than a relationship with the present.
This implies a consideration of what came before and what came after the production of a work art, be it a physical object or an event that is rooted in the present,and can only be perpetuated through memory, or the use of replique,(replication) which takes on its own form of physicality such as a theater production or recording device. "The art of post production is a product of this notion of replique...the work of art is an event that constitutes the replication of and reply to another work or preexisting object; distant in time from the original to which it is linked,this work none the less belongs to the same chain of events."
Bourriaud implies this diminution ("diluting it in time"), is ridding the work of its character as a historical fetish. He mentions Bertrand Laver, Bruno Peinado, and Sam Durant as artists who are using a" form of replique to place work in the "cultural chain" of events.
Music would seem to provide a model for this type of contemporary art where work "is no longer defined as the end point of the creative process but rather as an interface, a generator of activities." Bourriaud uses the evolution of the dematerialization of the global economy as a model for this process of devaluation of property and shift to "short-term access between servers and clients operating in a network relationship"(Jeremy Rilkin).
I do not yet understand how galleries and artists profit from these relationship networks.Perhaps they all keep their day jobs in a time when acquisition is be replaced by a "generalized practice of access to experience." This sounds a bit like theater, where the shift from tangible ownership to temporal experience evolved eons ago as a form of communal storytelling.
Bourriaud quotes Peter Sloterdijk as saying "all things must be reevaluated in terms of their transportability" and cites the Exodus as an event where God was transcoded from stone to parchment , monument to document,a diaspora of forms, that require a translation among people that will give rise to a "new common intelligibility".
Monday, March 1, 2010
Graduate Art Seminar Week 5
Bourriaud speaks of topology as a geometry of translation.Topology is the study of the properties of figures or solids that are not normally affected by changes in size or shape, this usually is the surface structure or the arrangement of parts of an object. Translation, in this sense,is the "transition from one condition to another...thus it refers to movement,to the dynamism of forms, and characterizes reality as a conglomeration of transitory surfaces and forms." Topology is a model for the study of the sociological phenomena we know as art.
Bourriaud defines "precarious" as a right of use that could be revoked at any time, and compares it to the life span of commodities whose decreasing usefulness affects our perception of the world. To me,this precarious aesthetic seems to be about risk, and while these seem like precarious times, I suspect inhabitants of any period would share this sense of urgency.He quotes Hanna Arendt as saying "an object is cultural to the extent that it can endure; its durability is the very opposite of functionality." This dichotomy between the enduring and the functional is rejected by Bourriaud as failing to apply to contemporary art work. No fixed forms, fragility, and a sense of the ephemeral are all qualities of this aesthetic precariousness. Urban chaos and a wandering journey become metaphors for the type of response we feel when regarding the work of many current artists.
The parade is a type of journey-form cited by Bourraid as an example of art that is not rooted in the material, but rather an event that occupies a "time-specific" place. He gives many examples of artists whose works convey this sensibility of the explorer,
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