Sunday, 30 May 2010

text + concept + emotions

marcel proust calls it 'involuntary memory'

you sent a photo

internet became unbearable

"I considered to reflect a characteristically “bourgeois” reference, but not in the sense of “alienation” – not the anonymous stare of the maid-servant in Manet’s painting – but in the sense of a space so profoundly dedicated to itself, so invested in itself, that barely anything could exist, at least affectively, outside of it. Laughter and tears, memories, broken objects … "

Saturday, 29 May 2010

David Elliot tells that..

without the ethics, there's never be the aesthetics, - they don't exist independently from each other - contemporary art expresses anything it has to express, and attitude towards freedom of freedom for itself, but freedom or autonomies good enough - so-called the autonomy of art needs to express our freedoms and that's why we do.

Wednesday, 26 May 2010

re-dial H-I-S-T-O-R-Y

Let's re dial the history http://www.youtube.com/watch?v=vWyiY0JywC4&feature=related

Johan Grimonprez at Fruitmarket Gallery http://www.fruitmarket.co.uk/

22 May - 11 July 2010

Sunday, 23 May 2010

Journal for Contemporary Art

One of the discoveries of lazy sunny sunday

http://www.ctrlp-artjournal.org/

Friday, 21 May 2010

Art in the Age of Biopolitics: From Artwork to Art Documentation

Must read article vol. II http://www.ranadasgupta.com/notes.asp?note_id=34

by Boris Groys (translation: Steven Lindberg)
art, documentary, Benjamin, biopolitics

from the Catalogue to Documenta 11

Question of the day

What is the difference between, organizing and curating talk series?

The task of both practices inquire illustrating a framework, calling for speakers and moderating it.

So, why to call 'curating' rather than organizing? Curating talk series evokes more intellectual work process, than calling it 'organizing' which mostly refers to business field. Or do people use it just to be trendy and look like they did a theoretically engaged job?

Quotation of the day from Anton Vidokle

quotation of the day

Yet another example of such a tendency is the “Curating Degree Zero Archive,” a traveling exhibition of “curatorial research” designed as a kind of artistic installation. Conceived by curators, the exhibition circulates through a network of public art institutions largely run by curators. The issue is not whether curators should have archives or open them to others, or to what degree this is interesting or not; rather, the question concerns whether the people in charge of administering exhibitions of art should be using the spaces and funding available for art to exhibit their own reading lists, references, and sources as a kind of artwork. Even more ludicrous is the fact that the dissolution of the self-contained (autonomous) artwork is cited as a justification for supplanting the work of artists in the museum altogether, as shown on the website of this curatorial project:

Archives have become an increasingly common practice in the art world since the 1960s. On the one hand, there are archives founded by artists or collectors; on the other, a more recent development, there are those founded by curators, who sought to make their collections of materials accessible and make their selection criteria public. That desire may have arisen from the dissolution of the notion of the self-contained artwork, which has been eclipsed by a contingent art object that makes a new form of cultural memory necessary and always contains a note of protest and a critique of museum practices.⁷

http://www.e-flux.com/journal/view/136#_ftn4

Thursday, 6 May 2010

Institution Building

Nikolaus Hirsch, Philipp Misselwitz, Markus Miessen, Matthias Görlich (Eds.)Institution Building
Artists, Curators, Architects in the Struggle for Institutional Space

With contributions by Shumon Basar, Andrea Phillips, and Jan Verwoert

This book presents a study that conceptualizes, tests, and practically applies the spatial strategy for the European Kunsthalle. The investigation is the result of the activities incorporated into a two-year work practice from 2005 to 2007, an iterative “applied research” informed by resonances between theory and practice.

The developed approach attempts to constructively question ideas of “stability” and “instability” and—in doing so—proposes a specific strategy for the European Kunsthalle that positions it within a local, regional, national and international contemporary discourse.

Nikolaus Hirsch, Philipp Misselwitz, Markus Miessen, and Matthias Görlich have developed three spatial strategies: an unstable configuration, a stable strategy as well as a model that consolidates the potentials of both variants towards a, albeit slowly, growing institution. The proposal acts as a laboratory that plans a collective structure consisting of individual components. It results in a network of possible spatial options stemming from programmatic modules and leads to numerous possible spatial configurations. This alternative institution is a showcase of a growing phenomenon problematizing the relationship between authorship and institution. As time spans of exhibitions become shorter and programs become more differentiated, architecture in itself becomes exhibition—renegotiating the default role models of artists and architects