Alexander Rodchenko's Pure Red Colour, Pure Yellow Colour, Pure Blue Colour, 1921
Francis Alÿs in collaboration with Cuauhtemoc Medina and Rafael OrtegaWhen Faith Moves Mountains,2000-2002
TH.2058 The Unilever Series: Dominique Gonzalez-Foerster, 2008The 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.-- "
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