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, 1991Pg 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.
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