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Cleaning Up the Disordered World

Cleaning Up the Disordered World

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Published by: Fur Coat No Knickers on May 27, 2012
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Cleaning up the disordered world; state of the world, contemporary and its future.

We create a perfect world, discovering and inventing new goods every single day. Discovering thing that make our life easier and better. Connected to each other with one click. Having the lastest information and news provided by tv, radio and internet. Sharing your life with friends and strangers within a second. Travelling to places for as cheap as buying shoes and as an everyday journey to work and back home. Simple and easy. You can have it now forget about the past. Instead, think more about your future. History is gone forever, because we don’t need it anymore. Five minutes a day. Two days a week. One week a month. Three months a year. Five years for life. You will not remember more than that, because you don’t know how to use your world to make it valuable and useful. Vast amounts of choices among important and signified contents. You need to be incredibly precise in order not to make a mistake. If you do so, you might lose lots of your time, which is definatley important. With twenty five browsers opended simultaneously on your desktop you do not even remember what you opended the first one for. However you are still generating your own mess. Searching for the best between more than a hundred “the best ever” products. Which one is really ‘the one’? It is all in your hands. No one can question your selection nor can neglect it. And so it is with contemporary art. With millions and millions of artists everywhere you are the only one to choose who you respect and whose art work is the most significant. You are also the one who has the power to reject. Founded on-line with google search, youtube or in one of six other small galleries in Chelsea you start to have masters, stars and paragons. This is how I perceive contemporary world and this is how I place you within this world. You are going to be who I am writing about. Looking at art at present I will try to bound using any examples from todays artworld. Using the word ‘you” everytime I am just trying to address my work to you particulary, you as a part and as a creator of my surrounding and you as a part of my other – art world. Whilst reading Hans Urlich Obrist – Interviews 1, I found that all the artist/writers/thinkers he is talking to, were born before 1975. And all those people (including an author) are the one I respect ( not even like, but know about them and know how much good they did for art since they came on the scene. Whene I went to the Berlin Biennial after all the exhibition we saw, my friend asked me if I can tell him about my favourite artist from our generation. I started to think and after a while I said ‘I don’t know any genius artist who was born later than ‘75’. We started to talk why there is so much ‘art’ and ‘Art’ going on around us, that we can’t even remember, and don’t have time to think about, for more than 5 minutes. We could go to 10 openings on one night, and we would

find some magnificent work but later on we will visit and will no longer rember this initial work. I could tell you today I saw a magnificent video by someone. I will remember it until the next good work I see. There is to much information and too much going on creating the worst disorder. ‘A contemporary art biennal is a message in a bottle, a statement from its artist and curators about the times we’re living in. Visitors to the 5th berlin biennial can be found trekking across grassy wastelands formerly occupied by the berlin wall, nosing through repurposed industrial buildings, and investigating antiquely modernist palaces of glass and steel in search of…well, what exactly? Perhaps what they seek is that elusive thing germans call zietgiest ‘[1] I read many articles responding to what was happening in berlin that year. I heard that it was the worst art fair for years and also that there was nothing to see. In some point I agree with this statement but I am not critising it. I understand the curators ‘Szymczyk’ and ‘Filipovic’s concept behind the exhibition. I understood the title of the exhibition : when things cast no shadow’ And I understand their way of curation in relation to general art condition today. The curators made a mess on purpose and to find a good work in this muddled heap you must be patient even though there is no time for contemplation as there is so much art and so many events to see. Artists since modernism are making their work out of trash, found objects and using their own excrements as components in their work. I observe that with every new generation of artist they seem more and more focused on the dirtiness and filth (in terms of art) as I think that every next generation is more damaged and more unresolved than the one before. The berlin biennal for me represented the current state of art. Next I would like to write about aesthetics in post modern art. In conversation with a friend we talked about how we could show our works to our families (say grandmother – grandfather) and tell them this is art, if they would see some pixelated dark imahe of a naked man inbetween two trees for example. How cheeky should I be to say this is my piece of work and I think it is bery good.’ They wouldn’t understand my point as they need things to be nice and shiny, a craft work. Exposing skills and talent from the initial aesthetic view. Obcourse they appreciate Duchamps ‘Fountain” because it was revolutionary. The point is that our art is not nice and it responds to what we are surrounded by. Next point is about making order and repairing the broken parts in relation to contemporary art. What is the future of art? If art has to constantly re invent itself in order to survive. Is it destroying it self with its own weapon? In one interview the most detested Italian philosopher Umberto Eco is foreseeing tht all the super gadgets such as mobile phones, emails, youtube and google, will die and we will only listen to the radio. We will return to a time before. He also wrote a short essay entitled ‘Dream’ about the future world with out any technological facilities. Removing this media made me think about its

implication on art today. I once thought of creating a piece of work based on storytelling and complete absence of a physical subject only the artist explaining his ideas for the gallery space directly to the audience. I realise how my natural instinct to make art is to destroy and deconstruct feeling into this downward spiral. I later read the following few words by Marina Abramovic in discussion with Gregory j. Chaitin and Hans Ulrich Obrist where she says; ‘there was another moment in my life, which happened some time ago and I really think I’m right, but it’s still not there. Its like the whole world idea of how arts going to look in the next century, how are things going to develop? And honestly strongly believe art is going to the point where the object will be removed – there will be no objects; no painting, no sculpture, no instalations, whatever. There will just be this artist directly transmitting energy through public, with no objects in between, and that’s it. Objects wont be necessary any more; but to get to that point, the public has to prepare as well as the artist. And one of the reasons for these transistory objects is to prepare the public to receive it. So it can really be developed in the same way as artist because artist go through the process of change but most of the time the public doesn’t.’ {2} from total mess to an empty clear space? I believe so. I would like to see it in my life time. Its too early for that kind of dramatic change and the idea needs time. The thing is to be aware and very focused on whats going on right now, because its flying past so fast. If the art world is not going to destroy everything I see a far more harmonic future than that of today. Sam Hickon Bibliography {1} the post materialist/now museums – new york times online {2} Marina Abramovic interviewd in H.U.Obrist – Interviews Volume 1 (2003)

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