Radicant, Pg 79-140

John Bock, Zero Hero, 2003, Mixed media, Variable dimensions


Thomas Hirschhorn, Diorama, 1997, Mixed media, 84 in. x 732 in. x 144 in. (213.36 cm x 1859.28 cm x 365.76 cm)

Jason Rhoades, More Moor Morals and Morass, 1994, Mixed media, Dimensions variable


Gabriel OrozcoSamurai Tree 6H, 2007



Thomas Hirshhorn, Stand-alone, 2007, installation view



Gabriel Orozco, Yielding Stone, 1992


My Bloody Valentine, Loveless, 1991





Pg 79. Space and Time... time being as tangible as a room-- art is now time specific like it had been land specific in the 60's

--a new translation Art now negotiates a new type of space by using a geometry of translation--
TOPOLOGY- math that deals with quality and less with quantity of space

transition/ movement/ forms... What does this mean?
Translation-- PRECARIOUSNESS

AESTHETIC PRECARIOUSNESS AND WANDERING FORMS

precarious- a right of use that can be revoked at any time
we now live in a disposable world
disposable- objects life span is shorter and shorter-- planned obsoleteness, this mirrors the labor market contracts

pg 80 The paradox of fixed, inaccessible govt. whose economy is developing without respect to lived reality

Is this the reason the Art of our time is made with precarious, disposable materials?
POP CULTURE- trends-- now is a continuous blurred line.

Neitzschean question of eternal return-- Are you willing to live for all of eternity the moment you are experiencing fight now? This question asked in Art?-- commitment to values-- no longer is poignant.

Pg 81. Era of commitment is past-- hard to retain anything except proper names/ brands.
*Maybe a been there done that attitude is keeping us from the heart of experience-- Is our modern world/ Globalization responsible for this glossing over?
People try to define the new precariousness
Bauman-- liquid modern society whose driving force is globalized consumerism--
shopping malls-- glorious face
miserable underside is flea markets and slums

in 90's liquid modernism became reality--
themes of consumption and communication from 80's fell into background w/ economic crisis

the flea market aesthetic was perfect transition into the 90's
--precarious against solid, flea market against shopping malls, ephemeral performance against steel and resin.

*How does the Artistic consciousness come about? How do many artists start expressing/ making work about the same issues? -- it reminds me of how all the trees bud at the same time in the spring.

*Why does this change now in the 21st Century?
Pg 82 oppositions are less marked-- all forms coexist peacefully-- "Artistic production no longer seems to be organized by that pendulum swing between solid and precarious that continued to echo the alteration of classical and baroque-

Pg 83 Wolfflin says " a fundamental principle of art history-- such fundamental principles can only operate in a radical world-- or a world that retains a memory that radicality..."

IN POSTMODERN UNIVERSE, everything is equivalent-- in RADICAL UNIVERSE, principles mingle and multiply by means of combinations.

DuTranchant-- cutting Edge

Ctr + S Universe -- we are a society with automatic backup.. arching widespread and systematic.

-- Art Institutions are like archiving
-- Modernist Moment-- visible brushstroke end of 19th century.

Art Povera response to consumerist optimism-- American Pop ART

pg 86/87 Jason Rhoades 1993 Installation

Precarious Aesthetic-- clutter, poor materials, saturation-- rejection of any fixed composition principle in favor of nomadic indeterminate installations

Rhoades and Tiraranija-- work by hollowing out, scraping away-- no such thing as a blank canvas-- Chaos is preexisting

in 1991- My Bloody Valentine expressed this aesthetic tendency-- the melody emerged by a series of subtractions--

--precarious pervades entirety of Contemporary Aesthetic!

KOONS, HIRST AND CATTELAN
PG 90. CONTEMPORARY PRECARIOUSNESS AND RENDER IT MONUMENTAL

URBAN WANDERING
Artists make tons of work about life in cities
pg92. when historians look back to art from our era they will see that artists "were fascinated by the transformation of their immediate environment and the 'becoming world'(devenir-monde) of their cities."

compare our now with 2nd half of the 19th century-- Manet, Monet, Saurat painted the birth of industrial civilization, urban life and outskirts of cities

Impressionists painting Parisan Cafes are similar to poost industrial landscapes of Andread Gursky, Struth, Streuli and Wall-- going beyond comtemporary photography-- define all contemporary artists by reference to Baudelairean maxim 'to distill the eternal from the transitory" omniprescence of precariousness in contemporary art pushes it back to the sources of modernity

Pg 92. * Artist Mutant* Baudelaire attempts to sketch profile...

Orozco, Hirshhorn, Alys, Rhoades-- many contemporary artists wouls embrace this definition of Baudelairean modernity indexed t o the urban, wandering and precariousness..

Is this Bourriaud's projection only? Do artists really think through/ strategise about the ideas/ideals that theorists and philosophers project?

Pg. 93 Erre-- something like momentum-- Lacan--"The momentum something has when what was formerly propelling it stops." Bourriaud says that many people believed the postmodernist movement stopped at the end of the 70's and this allowed for movement in any direction--
"The erre would then be what remains of the forward motion initiated by modernism, the field tha is open to our own modernity, our altermodernity"
ex. Orozco's Yielding Stone, 1992 and Samurai Tree begun in 2005

Pg 94 Walter Benjamin-- artworks aura "unique phenomenon of distance" describes its progressive disappearance in spatial terms-- "the space of human life is undergoing a metamorphosis-- the distance between things and living beings is diminishing" the crowds of city make sense of community difficult -- "contemporary megacity...set in motion by the artists of today, is an effect of a political erre-- giving way to urban chaos."
*--Bourriaud says that true borders are now internal, bringing a subtle form of segregation between social and ethnic classes in the city itself-- then how can and artist truly be a radicant artist- moving freely without exclusion of the other?


John Miller --Middle of the Day photographs of the pause in the workday-- AWESOME!
-- also subjectt of Seurat's A Sunday Afternoon on the Island of La Grande Jatte --
pg 95 Bourraid says John Miller depicts Seurat's Sunday Afternoon enlarged to planetary dimensions and confined to the legal hours of flanerie... cool.

How many times does Bourriaud use the word precarious in this reading?

pg 100/ 101 Benjamin links loss of aura to to mechanical techniques for capturing images to the emergence of the cinematographer as a model of control--

Hegal saw history as a single path --image reference ins a highway... 102 new figure of artist is semionaut:a creator of paths in a lanscape of signs

The journeyform 2 Topology: pg 113 the journey has become a form in its own right-- rplacing "ad-like frontality of Pop Art and the documetary enumeration of Conceptual art"

Pg 114 The form of the work expresses a path, a journey, more than a fixed space or time
-- ex. Pierre Huyghe, Liam Gillick, Kelley Alys and Dean--

How does one learn topology, a branch of geometry and and use it to make art as described by Bourriad as messing with the "spatio-temporal dispersion of their elements"? How is this a commom characteristic in work by Hirschhorn, Rhoades, Tirvanija, and Bock?

Does one percieve the "unfurling of a flow" in their work? I think so.

The Radicant, 11-77

Alexander Rodchenko's Pure Red Colour, Pure Yellow Colour, Pure Blue Colour, 1921

Submit search form

Duchamp Bottle Rack 1914

Francis Alÿs in collaboration with Cuauhtemoc Medina and Rafael Ortega
When Faith Moves Mountains,2000-2002


TH.2058 The Unilever Series: Dominique Gonzalez-Foerster, 2008
The Turbine Hall
Tate Modern, London


Gonzalez- Forester, Park. A Plan for Escape, 2002


Gauguin, Paul Where Do We Come From? What Are We? Where Are We Going? 1897

What's Bourriad's stradegy in this chapter?

Deconstruction

Postmodernism is the antithesis for Altermodernism--Bourriaud says " Postmodern thought thus arises as the negation of those powers of decentering, of setting in motion, of unsticking, of de-incrustation; powers that are the foundation of the emerging culture that I term here altermodern."

A Dialog of Action , a dialog of verbal experience. Boundaries of ways to talk about art.

YOU let the OTHER be-- a binary division from Postmodernism to Modernism
You can't let others be because you are submersed.

Modernism-- a thing of the past Bourriaud says--

Modernism is subject over form-- neglecting content where Postmodernism has a relative attitude... it's still Modernist-- it didn't take care of content. Modified-- exhaulted multiculturalism but not knowing why. There is a difference for the sake of difference. The difference edified in critique.
--We discover a new authentic but let's let it be-- keep it undeveloped...

Strategic multiculturalism-- extreme Postmodernity-- so relative doesn't allow for cultural exchange because your from there and I'm from here...


Subaltern studies

Homi Bhabha looks at history not from post colonialism POV but from subaltern POV - from wikipedia-- Homi Bhabha, a key thinker within postcolonial thought, emphasizes the importance of social power relations in his working definition of 'subaltern' groups as oppressed, minority groups whose presence was crucial to the self-definition of the majority group: subaltern social groups were also in a position to subvert the authority of those who had hegemonic power

Post modernism serves Poststructuralism
Dissolusion of Postmodernity --swalow everything- not good.

pg 27 need to open an aesthetic and intellectual region in which contemporary works might be judged according to the same criteria-- a space for discussion
-- a state of Translation where communication can occur

Modernism--sublime as final goal Postmodern- center of origins
strategies separation--

Altermodern- swimming in the same sea-- destination takes us into the future

Absence of modern Ideology created more room for religous Ideology.. space needed to oppose thoughts

in new modernity culture-- infinite texture of the world culture-- defining territory for action.

The Nomadic-- part of globalization-- trying to create a translation.

Modern and Postmodern-- Binary Phenomena Ebracing vs Dividing approach

PM has own singularity-- refused to choose between defending or judging

ontalogical fragility-- when theory falls apart.

PoMo approach to multiculturalism is oppressive

PM & M similar because the dynamic has not moved away from the European

construct plan creates new cultural connections-- origins rather than intercultural

WHERE ARE WE GOING INSTEAD OF WHERE ARE WE COMING FROM

RADICALS AND RADICANTS

defining what identity is. The status and potential of being a radical tool.

bottom pg 44 perpetual return to the origin implies that in a radical system of art the new becomes an aesthetic criterion in it's own right. ... Paradoxically, this founding father gesture also formulates a possible end of art. An end and a beginning at the same time, the radical artwork constitutes an epiphany of the present. see footnote 28 on pg 45 for more insight...

Guy Debord-SI movement ended on his orders in 1972-- What is our sense of authenticity
Problem with society of spectacle People were blinded and did not want to see anything

Modernism is very onesided
connect, truth paradigm Radicant doesn't do that
Du Champ
Modernism rejected identity
Postmodernity- superficially adopting-- dealing with logistics
Radicantity is not so superficial

pg 64 " Paul Gaugin did not exploit the cultural context in which he settled, he translated it.

in WHERE DO WE COME FROM? WHAT ARE WE? WHERE ARE WE GOING? he doesn't import indigenous motifs into a western painting hetries to treat pictorially his encounter with Polynesian territory.-- "

Works from Artists in Postproduction

Mike Kelley,
Deodorized Central Mass with Satellites 1991-9


Surasi Kusolwong1000 Lire Market (Life Goes On), 2001, 6'
Jason Rhoades, Black Pussy 2007

Rirkrit Tiravanija, Untitled, (Playtime) 1997


Maurizo Cattelan, Untitled 1993

Post Modernist Art

Anette Messager
Kara Walker, Cut, , Cut paper and adhesive on wall, Brent Sikkema NYC.

Nancy Holt, Sun Tunnels

Hockney's 1967 "A Bigger Splash"

Post-Modern Art Movement and Art Today

4. Define the Post -Modern Art Movement- When did it begin? How did it end? Did it end?

The Post Modern Art Movement came to be as a response/reaction to modernism in the early to mid 1970's. It is a Visual Art Movement that strives to blur the lines between popular culture, art, and media. It is unclear to me if this movement has ended-- some believe the end is marked in the late 80's but I think it is a blurry line indeed.

What are the main principles associated with the Post-Modern Art Movement? Who are the main artists/critics associated with it and what is the aesthetic character?

The Post-Modern Art Movement is an art movement that denies any strict adherence to rules about technique or form. Critics Susan Sontag and Ihab Hassan argue that, "the work of postmodernists was deliberately less unified, less obviously 'masterful', more playful or anarchic, more concerned with the processes of our understanding than with the pleasures of artistic finish or unity, less inclined to hold a narrative together, and certainly more resistant to a certain interpretation than much of the art that had preceded it". (Postmodernism- A Very Short Introduction, Christopher Butler, Pg. 5)

Post- Modern Artists
Ellen Gallagher, Roni Horn, Fiona Rae, Shahzia Sikander, Bill Viola, Kara Walker, Annette Messager, David Hockney, Nancy Holt, Cady Noland, Bruce Nauman

Post-Modern Critics
John Haber, Hal Foster, Brian Wallis, Donald Kuspit


5. Define the Art of our time_2010?

What name would you give it? When did it begin? How did it begin? What are the main principles associated with this Movement and who are the main artists/critics associated with it and what is the aesthetic character of the Art of today?

The Art of today is defined through Art movements from the 1990's through the present.
Net Art - using the Internet, interactive- Vuk Cosic, Jodi.org

Massurrealism- a combining of surrealism, mass media, technology and pop art- James Seehafer, Alan King, Ginnie Gardiner, Cecil Touchon

Artefactoria- Latin Anerican Movement that celebrates surrealism, the unconscious and fantasy- Lupe Alvarez

Toyism
Lowbrow
New Leipzig School
Tiki Art
Bitterism
Stuckism

In 2000, Thinkism started in the day after 9/11 2001
and Funism in 2002

It seems to me that the aesthetic character of art in out time is that anything goes. I see the idea of the Radicant Artist by Bourriard is what seems prevalent in our time.

Artists
Jason Rhoades, Kelley Walker, Francis Alys, John Miller, Seth Price,