"There is no such thing as any possible "end of history" or "end of art", because the game is being forever re-enacted, in relation to its function, in other words, in relation to the players and the system which they construct and criticise". (2002: 18)
"A new game is announced as soon as the social setting radically changes, without the meaning of the game itself being challenged. This inter-human game which forms our object (Duchamp: "Art is a game between all people of all periods") nevertheless goes beyond the context of what is called "art" by commodity." .... .... ? (2002: 19)
"Forms are developed, one from another. WHat was yesterday regarded as formless or "informal" is no longer these things today. When the aesthetic discussion evolves, the status of form evolves along with it, and through it." (2002: 21)
"Each particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations, and so on and so forth, ad infinitum." (2002: 22)
"Our very cultural works are are submitted for re-reading/recycling, attesting to the ubiquity of optical instruments, and their current prevalence over any other production tool." (2002: 77)
"The image is a moment
A representation is just a moment M of the real. All images are moments, just as any point in space is both the memory of a time x, and the reflection of a space y. Is this temporal factor frozen, or to the contrary, is it a producer of potentialities? What is an image that does not contain any forthcoming development, any "life possibility", apart from a dead image?" (2002: 80)
The engineering of intersubjectivity
The nineties saw the emergence of collective forms of intelligence and the "network" mode in the handling of artistic work. The popularisation of Internet web, as well as the collectivist practices going on in the techno music scene, and more generally the increasing collectivisation of cultural leisure, have all produced a relational approach to the exhibition. Artists look for interlocutors. Because the public is always a somewhat unreal entity, artists will include this interlocutor in the production process itself." (2002: 81)
Showing posts with label Books. Show all posts
Showing posts with label Books. Show all posts
Evans, D. (ed.) (2009) Appropriation. London: Whitechapel
“Appropriation is indeed the first stage of postproduction: the issue is no longer to fabricate an object, but to choose one among those that exist and to use or modify these according to a specific intention.” (Bourriaud N. in Postproduction p.22)
This book provides a plurality of voices by various artists and writers internationally that relate to the theme of ‘Appropriation’. It offers an overview from the 1970s to date, conveying the diversity of appropriation strategies in the last four decades.
Contemporary practice is divided into seven categories:
1)Agitprop: refers to the term for agitation and propaganda historically associated with the dissemination of communist ideas. Connecting thread is the deployment of appropriated imagery to make explicitly political work that is intended o operate mainly outside of the usual art institutions;
2)The Situationist Legacy: (1957-1972) neo-Marxist Organisation, revolutionary politics, Metro Pictures, copy-and-paste aesthetics of punk;
3) Simulation: 1980 J.Baudrillard, Sherrie Lavine’s Statement that re-works Barthes death of the author and birth of the reader);
4)Feminist Critique: (A) visual culture is one of the principal sites where gender relations are produced and reproduced( B) the mainstream accounts of the modern author or artist inevitably foreground men of genius (B. Kruger, C.Sherman et al.);
5)Postcolonialism: The retaking of what was possessed without authority ;
6) Postcommunism: mid 50's;
7)Postproduction.
8)Appraisals: more recent texts that engage critically with that legacy, either to offer revisionist histories, or to identify a post-appropriation art for a different era.
“one of the most fundamental distinctions between appropriation art in the 1980s and post-appropriation art today revolves around history itself. A recurrent theme in postmodernist debates of the 1980s was the supposed death of historical meaning, but major events like the implosion of Soviet Union resulted in the ‘re-emergence of a multiplicity of histories in the moment of the 1990s’. The challenge for the appropriationist artist now is to discover new ways of dealing with these ‘unresolved histories.” (Evans.D. p.22)
Jordan, S. (ed.) (2000) Preservation politics: Dance revived, reconstructed, remade, Huddersfield: Dance Books, Ltd.
It contains the proceedings of the first major European conference (University of Surrey Roehampton, 1997) that examined our relationship to past dances and dance cycles. Reconstuction is seen as a political manoeuvre to establish a powerbase for cultural identity as well as for the art itself. The radical reworking of heritage to make it new is the theme for many of today’s choreographers.
In this book, which is very much focused on Ballet reconstructions, are investigated five basic guidelines concerning reconstruction: 1) Preservation of master works 2)Determination of authenticity 3)Clarification of authorship 4)Identification of the original ballet (work of art) 5)Our intervention as artists and scholars .
Carter, A. (ed.) (2004) Rethinking Dance History: A reader. London; New York: Routledge
This book brings researchers and readers together by offering a selection of work which embraces new perspectives on key periods and people in theatre-dance history and addresses some gaps and silences within that history. Questioning what constitutes the historical study of dance is exploring the intersection between varied theatre-dance forms and popular culture.
Chapter 2 (Alexandra Carter): How debates in macro history impact upon dance history
Chapter3 (Lena Hammergren): A consideration of the selection and interpretation of source material disrupting conventional notions about the status and value of historical sourses.
Chapter 4 (Helen Thomas): selective criteria by which works are chosen for reconstruction, diverse and contested terminology, notion of authenticity.
“For Selma Cohen (1993) a reconstruction is made by someone else who researches the ‘work’. A re-creation is concerned to capture the ‘spirit of the work’.” (2004: 36)
“For Hutchinson Guest (2000) a reconstruction involves ‘constructiong a work anew’ from a wide range ‘sourses’ and information, with the intention of getting as close to the original as possible. […] A re-creation is based on an idea or a story of a ballet (or dance), which has been lost in the mists of time and it may involve using the original music or idea”. (2004: 37)
Chapter 8 (Linda Tomko): whether history operates not with linear development moved forward by key individual agents but as lateral moments in time.
Chapter 13 (Ananya Chatterjee): how the history of Odissi has been organized based on concepts of development, linearity, coherence and ‘truth’
Chapter 15 (André Lepecki): claims a trend of European modern dance practicioners at the end of the twentieth century not to subscribe to the imperative of always rupturing the past by creating ‘new’, but to acknowledge the past ‘as common ground, as the surface it is inevitably destined to wander on’.
Mashup Cultures
Eduardo Navas (p.157)
(p.164)
Few Famous Music Mashups:
The Adventures Of Grandmaster Flash On The Wheels Of Steel
Yellow Black Rectangular - Negativeland
Our Favorite Things - Negativeland
TODD P GOES TO AUSTIN film trailer
RIP! : A Remix MAnifesto
The great big movie mash-up
Three of Michelangelo Antonioni's finest films have been turned into a single stage play - complete with mind-boggling special effects.
Ivo Van Hove's Roman Tragedies was one of the theatrical highlights of 2009. A six hour mash up of Coriolanus, Julius Caesar and Antony and Cleopatra...
"Videos and microphones are tools of today. Why not use them? Greek tragedies used masks - they were like huge close-ups of an emotion"
By Maxie Szalwinska
Barthes, R. The Death of the Author. (from Image, Music, Text, 1977)
‘Relevant to a type of art that seemed to question the notion of originality and to court an active role for the viewer.’ (Evans, D. for Craig Owens in Appropriation p.13)
"As soon as a fact is narrated no longer with a view to acting directly on reality but intransitively, that is to say, finally outside of any function other than that of the very practice of the symbol itself, this disconnection occurs, the voice loses its origin, the author enters into his own death, writing begins."
"...the epitome and culmination of capitalist ideology, which has attached the greatest importance to the ‘person’ of the author."
"it is language which speaks, not the author; to write is, through a prerequisite impersonality, to reach that point where only language acts, ‘performs’, and not ‘me’."
"The removal of the Author [...] utterly transforms the modern text (or — which is the same thing —the text is henceforth made and read in such a way that at all its levels the author is absent). The temporality is different. The Author, when believed in, is always conceived of as the past of his own book: book and author stand automatically on a single line divided into a before and an after."
"there is no other time than that of the enunciation and every text is eternally written here and now. The fact is (or, it follows) that writing can no longer designate an operation of recording, notation, representation, ‘depiction’"
"a multi-dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture."
"the writer can only imitate a gesture that is always anterior, never original."
"by refusing to assign a ‘secret’, an ultimate meaning, to the text (and to the world as text), liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to refuse to fix meaning is, in the end, to refuse God and his hypostases—reason, science, law."
"to overthrow the myth: the birth of the reader must be at the cost of the death of the Author."
Mendelsohn A. (2006/2008) Be Here Now. IN The Live Art Almanac.UK: Live Art Development Agency
"Interrogating history is itself the acknowledgment that much of what we know and who we are as people and societies is dependent on second-hand, mediated accounts of the past." (2008: 32)
"Nostalgia, event culture, artifice, spectacle and fantasy all mesh together in Slater Bradley's video art."
"Factory Archives which is a fictional video has since been successfully absorbed by Joy Division archives. What Bradley does is to create layers of uncertainty and competing fictions. Bradley performances examine the anxiety of navigating of navigating lived experiences versus hand me out experiences...it demonstrates how the fabrication of evidence, the manipulation of perception, and the construction of believable environments can create a kind of false credibility - a dangerous notion that threatens to topple faith-based systems. The work encourages us to approach history as a living breathing thin, and that our acceptance of what we know requires us constantly to verify and confirm how we know what we know." (2008: 33, 34)
Forsyth and Jane Pollard's :
"Nostalgia, event culture, artifice, spectacle and fantasy all mesh together in Slater Bradley's video art."
"Factory Archives which is a fictional video has since been successfully absorbed by Joy Division archives. What Bradley does is to create layers of uncertainty and competing fictions. Bradley performances examine the anxiety of navigating of navigating lived experiences versus hand me out experiences...it demonstrates how the fabrication of evidence, the manipulation of perception, and the construction of believable environments can create a kind of false credibility - a dangerous notion that threatens to topple faith-based systems. The work encourages us to approach history as a living breathing thin, and that our acceptance of what we know requires us constantly to verify and confirm how we know what we know." (2008: 33, 34)
Forsyth and Jane Pollard's :
File under Sacred Music (2003)
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