My Friends Mom Keeps Touching My Breasts

How to submit protocols to rotate our artistic skills


Project in Session 19 of the School Shop, How Not to Make an exhibition, 29 and 30 May 2010, Centre National d'Art Contemporain, Le Magasin, Grenoble.

Wondering about the role of a curator and our place as participants in a school without teachers or students curating, I wanted to adopt the "fiction tactics" used by artists to think about the real [1]. Activating protocols arts within our work as Commissioner, it seemed that our learning would be questioned, our skills shifted, reversed our incompetence, our job reinvented.

artist Francis Deck, "artist consultant, developed what he calls an aesthetic decision. I invited him to develop with the participants of the session 19 a bank of questions to collect the reflections and then to debate, thus enriching our questions. Each written on a card the question which seemed the most important part of our collective work, then the cards were shuffled and each participating in one shot. The first person asked the item, and must defend it, answer it. To enter the debate, it was the question that had been drawn. Following this work, the titles of various chapters How Not to Make an exhibition have been formulated. Also, my text post production was to write a series of questions, not wanting to provide a closed account to share my experience in the school [2]. The problems are increased, the possibilities opened up.


The opening is a sort of point of climax of the exhibition, I wanted to play at this moment, and have enabled the public a secret Ikhe © SERVICES ( Slowmo ) [3] combined with a protocol Christophe Andre ( Against ergonomics).


© Ikhe SERVICES is a company theft whose objective is to defeat the purpose of our lives too regulated. The practical implementation of the service Slowmo was to slow the server action officer at the buffet, in this case a student in Fine Arts, which had accepted the mission. The opening took place under the canopy of the Centre National d'Art Contemporain Le Magasin, Grenoble, May 29, in a certain warmth. The one bartender was during his first training with Jean-Baptiste Farkas, swallowed a bottle of wine to slow his movements and make them clumsy. It was used too quickly sparkling wine, had to wait until the foam goes down before finishing to fill the glasses, and gently, talking to visitors, annoyed. Alcohol, being cool in the fridge studios outside the center, required that the server is absent regularly to look for new bottles - and he did knowingly took only two.


Heard during the opening: "This server is really bad, but you can not tell him anything because he is charming! "Or laughter flabbergasted on seeing again absent.
400 people were granted, 120 flutes were provided.

This service was coupled with a protocol Christophe Andrew, "designer activist." After an engineering degree, this artist decided to integrate the Ecole National Superieure des Beaux Arts in Grenoble, thinking the field of art as "less sclerotic and more conducive to experiments conducted with a view to possible transformation of society [4]. Against ergonomics is a protocol that denounces the modes of production designed by cynical approach of planned obsolescence, that is to say according to the principle industrial shed which is to make objects with a lifetime limited to force consumption. Pushing the concept to its climax, Christophe André designs champagne flutes with a hole, plugged with glue food (sugar and water) when alcohol is served, the glue in contact with the liquid, dissolves gradually, and the sparkling spread on the feet of drinkers. The object has a lifetime less than its operating time, and pushes the user to change their behavior.
Heard during the opening "Ah Casino Bravo! "(We were sponsored by Casino, which allowed us to have the free preview).

So, after waiting more than twenty minutes to be served, glasses were fleeing after three, and the visitors were rewarded for their patience, found themselves obliged to swallow dry-ass.

If Ikhe SERVICES, "organized around the notions of practice and delivery, (...) want to raise questions about behavioral norms, at least as much as the artistic standards themselves" [5], they find a deep resonance in Against ergonomics, reinforcing questions about the purposes of design methods of objects and services. Activated in a center of art, this work destabilize the notion of object art, its exhibition spaces, and its value. Indeed, within a gift economy, everyone can enable these protocols, and as many times as they wish.

Both artists Jean-Baptiste André-Christophe Farkas and were asked the following day (May 30) to answer my questions and the public, who then discovered the intentional nature of the events of yesterday. This conference performance art that was not seen as such at its effectuation.

Thus, if Christopher Andrew, Francis Deck, and Jean-Baptiste Farkas use the powers of art, " is hoping to act outside of the art "[6], fiction real undercover, to think better [7]








Questions asked during the Conference May 30, 2010, Auditorium du Magasin, Centre National d'Art Contemporain Grenoble

The secret trips, by metonymy, the surprise receiver. Why the surprise as procedure? Fear of "what is that art?

A work she can "work" if it is not seen as such? To "operate" the corrosive properties of enlightenment, connections, and thus help develop intelligible structures, we need to know it was art? The revelation is essential?

How to "RELAY" you your practice so that they exist?

A traditional exhibition would be feasible?

Have you developed a mailing that is not in the field of art? How

"documents" you your work?

Your practices call into question both the notion of artwork as been handed the Renaissance. Protocol / manual / recipe / partition : allograph work which, according to Goodman, defines the musical score, and results in the execution of virtually infinite copies . Indeed, the artist may not be there, just to determine the modus operandi of the work that it is achieved. "[...] The composer has finished his work when he wrote the score, even if it is the performances that are the end products. " [9]

But where is the" work "? What does work? Where is the question of aesthetics?

through the fact of working on protocols, modes of employment, proposed a prospective user, you both go against the concept of passive spectator. Whoever active protocol: user?

Christopher, one might say that your practice is the "DIY" and then wonder about the difference between entertainment and art practice. Also Jean-Baptiste, implement a protocol that does not seem something "serious" is not part of what we are used to store in "Fine Arts". I would love to apply to your work that Dubuffet sentence "I am an artist for whom Sunday is all day Sunday." What do you think?

Rancière explains in the interview Farkas with the identification of art work has its roots in absolutism art (art as self-supporting activity, nineteenth century). He added that it is not surprising now that this identification has declined with the progression of even a certain skepticism about the powers of art. So, art, a craft?

In addition, your work is at the boundaries of other practices (art / design / activism, writing ...). Why the field of art?

Your practice at any two is "through which the political" product "political effects" I particularly like this sentence Rancière in the interview conducted by Jean-Baptiste: "If art and politics communicate with each other, that is because they produce both fictions, that is to say, not of dreams but reconfigurations of sense. "What do you think?

---

[1] this subject, see the introductory text of the draft How Not to Make an exhibitionist: " The" tactics of fiction ", terminology that articulates the program, offer alternative systems established learning and challenge their coercive dimension. Borrowed from the French theorist Michel de Certeau, the term refers to a tactical way to seep through the cracks of the dominant systems in order to create interstitial spaces. The notion of fiction does not refer to the invention of an imaginary world, but offers a narrative which allows construction of intelligible reality. "Http://www.ecoledumagasin.com/session19/?page_id=694

[2] Accessible at http://www.ecoledumagasin.com/

[3] Owners: National Center for Visual Arts - Ministry of Culture and Communication (IKH (S). No. 24 = inv. FNAC 09-236)

[4] ANDRE Christophe conference.

[5] FARKAS Jean-Baptiste Ghislain Mollet-VIEVILLE, "About Art Statements," in Critical "What think contemporary art? " August-September 2010, No. 759-760, p. 734.

[6] Ibid. , P. 733.

[7] "The real must be fictionalized to be thought. "Jacques Rancière, sharing of sensitive, aesthetic and political , Mayenne: La Fabrique Editions, 2006, p. 61.

[8] Nelson Goodman, Languages of Art , An approach to the theory of symbols, translated from English by Jacques Morizot, Paris: coll . "Plural" Hachette Literature, 1990 , p. 147.

[9] GOODMAN Ibid.

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The PDF post-production project of the Session 19 of the School Store

The PDF of post production Project Session 19 of the School Store downloadable here: How Not To Make an exhibition .

The Thornberrys Wildlife Rescue

Game 7 errors (3)

1972:


2008:

Orange Paint And Brown Towels

In the photographic archives of the Commissioner ... The Social Network

Neil Young, The Zenith, June 2009

BRMC, The Batacla n May 2010

Stevie Wonder & Prince, Bercy, July 2010

Photos (C) GH

Remote Starter In 2010 Hyundai Santa Fe Diagram

Poltergeist

Poltergeist is a great American film produced by Steven Spielberg , a film produced and directed by 1982.
Synopsis: A Poltergeist where evil spirit spreading terror in the house of a family newly settled in a small village in California.

21st Birthday Facebook Event Title

From album Ghosts I -IV by Nine Inch Nails, Trent Reznor distributes his musical projects on the same business model: several titles available for free download for the curious or undecided, the full album controllable on various physical media for the fans, in versions ranging the most affordable to luxurious according to the desires and resources of potential buyers. This time it's for the soundtrack of The Social Network composed with Atticus Ross (himself author of the remarkable score of The Book of Eli months ago) that Reznor repeats the experiment.
The Social Network in the unlikely event that you would not already heard, is the new film by David Fincher (who was already using the music of Nine Inch Nails in the generic Seven), and should be one of the film events of the fall. The 5 tracks on the soundtrack available for download does not really create the surprise and are in line ambient instrumentals frequently appearing on albums by NiN. It was not until October to see if Fincher has made the right choice to accompany the images of his film (although it was already an idea on the issue ...).
Meanwhile, the hour or some pundits the record industry are wondering how they can continue to glean money in a dying industry, we can only rejoice to see some musicians like Trent Reznor successfully pursue their career in an independent and realistic, leaving their audiences a real choice in how to "consume" their music. An example that the majors should have inspired a long time but it will, alas, wishful thinking.

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Alexander Gurita: strategist in the field of art

Interview with Alexander Gurita

June 2010

As I am interested in practices such as those advocated by the Paris Biennale, I seems important to define the concept of curator applied to this art "invisuel" *.

Gurita Alexander: An art curator invisuel dispense with, at least in its definition usual. The art of nature invisuelle is an art without art and therefore no exposure and no curator. If the blank left by the latter had to be absolutely satisfied, then we should rephrase the status and role of the latter. But I am not sure that this section should be completed. Practices such invisuel involve restructuring of the art and can only be in one certain actors or activities should be deleted. In any case we have to either reinvent or delete the curator. If the concept of curator is rewritten, it would in my view, a kind of information officer whose role would be to inform others of a particular practice or artist, and with it a guarantee of neutrality, ie without trial design. It would be close to a technician who is at the service of art. In some cases the information agent could be replaced by an information terminal. We will then have two versions of information agent: man and machine. And what was in the conventional art because of the curator, in this new perspective would be integrated by the artist, namely the establishment of conditions for the inspection of his practice. But we can also see things differently: the problem at the bottom of the curator is ideas and content which it stands. While defending an art freed from the burden of the works he is reinventing himself. It's probably fate.

But if he chooses practices invisuelles is already an aesthetic judgments.

No, this is not an aesthetic judgments, because it no longer works, and so there is more art in the traditional sense. The only things to keep the art of consensus, and what we are certain, are the existence of the field of art, history, the word art, context and present an infinite possible. One of these is possible to accept that there is no dependency between art and works of art, in other words, accept that art is larger than the artwork.

Why keep the word "art"?

Because we are in the art. I call this word, art, identifying at least as well as the Paris Biennale. If we abandon the art and the artist became a lawyer, doctor, fireman etc.. The art does not concern most. I say: the idea is not to end with art but with limitations, with its standard, with its matrix, with the belief that it did. Some have not understand this distinction.

Without saying either that everything is art?

Everything is not art but with the exception of what already is, anything can be.

So there are limits?

For potential art there are no limits. This has always been transformed by successive regrowth of his own limitations. If we assume that art is a game, then it was played before the late 20th century, with the same rules, all from a basic formula: " equal art work of art. " The maps in this game were the work of art, the object of art, the exhibition, the art market, viewers, collectors, the institution of art, aesthetics, curator, artist agent, varnishing, etc.. In time, this game has changed, its rules have been relaxed. The object of art has expanded its boundaries to the base, the space around it, which could interact with viewers. Physics has become immaterial with the performance, happening, video art, sound, digital, net art. The viewer is past the stage of passive contemplative stage of real player. The art has been inspired largely by itself, its rules were changing at the same time they eroded. Historically the purpose of art is changing the idea of art. Until now this change was made with a game that itself was changing. Now to change the idea of art this game is not enough, we need one another that the old resume the minimum necessary that I mentioned earlier. Skip the old game is new to go from "being designed by the art" to "thinking art". And this new game has its limits, they are of a different order than the former.

Does it do not reproduce the original scheme, since we keep the rules?

We keep the idea of rules, but those are the rules of another game

Like "Paris Biennale".

Yes as the Paris Biennale and associated practices that offer another game The authors of these practices have realized that not taking a road route is risky, but that would be fatal . The essential in art as elsewhere is the discovery, invention, experimentation. I think we should revive this dimension now lost. The artist who plays the ancient game is thought by art, and as such it is reduced to a stage performer, little hand, he does not think others have done in his place. It is in the womb of art that control and contain the artist through an established language. Out of the womb is to play another game and it is often through the use of another language.

interest would be the way, not being in place?

interest is the place. Not in the way or get some part would be an end in itself but in the sense that it would be a starting point on a basis other than art, which involves unexpected perspectives. Is the transition between being thought through art and think about art. In this passage the first step is to refuse to be thought through art, and thus to break with the automatic, and thus, by implication, to abandon the production of works of art. After this abandonment, whatever the direction is always better than before.

Is that the most difficult is not that the point you create, the starting point that you locate, do not become a new matrix, Orthodox, closed, which would reproduce the pattern just fled?

To follow the thread of your question this new matrix corresponds to the rules and criteria that you set for yourself. This is the most common matrix that we produced, art agreed, that our subjectivity that creates a framework of its own. To be more specific, the matrix that thinks the artist said, "You're an artist then you must produce works of art that you should sell and display to spectators." Anyone who thinks art is said that one can see things differently. These are rules against other rules, two radically different positions. For simplicity, the standard of art or matrix if you will, is a rule that governs the art and which artists follow their own way by personalizing it. In either case, each has his own thoughts, rules of procedure. I think it's a question of individuation. Whatever the regime of dominant art of an era, it is important not to obey, not to suggest the art.

You say that the Biennale of Paris defies the rules.

It defies the rules because it plays with others. It proposes a alternative to the established art. This strategy allows us to defend artists who take risks, it is a laboratory for new ideas. Without the Paris Biennale, some things are more difficult to achieve if not impossible. For example the artists involved are considered as partners, they attach themselves to the modes of their activity and above all, dates and places. They are decision makers at the Paris Biennale. Established in the art that is inconceivable.

Take the name of the "Biennale de Paris" is a way of being taken seriously by the institution, and a way the power to infiltrate?

Somehow. It is a way to infiltrate into the matrix to erode. A defective part in a well-oiled machine. The most important thing is not to be taken seriously by the institution since the institution itself is not always serious and does not always work. Is it serious in 2010 that the state, the largest buyer of art in France, bought the watercolors? The difficulty of the institution is to be credible in terms of art and at the same time to keep up. La Biennale de Paris is a mask behind which act a hundred artists who are deemed by the institution as strange, or at best, alien. And that all offer alternatives to the official art.

My big question, as Trustee in the making, is: should we bring the furtive practices and / or invisuelles in the field of art?

They are not off-field of art. One of the challenges of these practices is to impact the art matrix, to move the lines. There is nothing wrong to regard these practices as being in the field of art instead. They should not stay in their corner, isolated. Because not only that they are unlikely to develop, but increasingly they leave intact the established values of art they are supposed to question. Some say that bringing these practices in the field of art is to be recovered. False. If these practitioners keep their peculiarities while fitting into the field of art then it will change its constitution. And we can no longer talk about recovery. It will be those practices that will transform the field of art.

My current position is delicate, because in principle, if the artists are fleeting, the invisuel is up to them how they position themselves relative to the field of art, if they want to be artistically intelligible by this world or not. It is not for me to do.

Do not be intelligible artistic means to not exist. It's being outside of art. But whoever becomes invisuel knows why he is there he is aware of his position and issues that go with it. Just for you to work with them without distorting their intentions. The goal is not to be invisuel but to change the idea of art.

You, as an artist, what do you expect of a commissioner exposure?

First, let me say that I consider myself more as a strategist in the field of art as an artist in the traditional sense. Then, to get to your question, I expect r ien's curator. To me, it is a magnifier of established values. It deresponsibilises the artist who thinks to use it, when in fact he leaves used by him. Anyway we will retain only the curators have tried to invent, to bring something to art ... But from another point of view, I expect that starts serving the art more than entertainment, industry culture, ideas. It is more independent-minded, creative and critical. To take risks, he dares, he is interested in practical Inconformes. If interested in these practices, it ends up reformulating gradually, as you do.

What does it mean "strategist in the field of art?

As I said to earlier, the purpose of the artist is to change the idea of art. Today this can be done with works Art. These have become ineffective, they have more influence on art. For nearly half a century and before, an artist and exhibited a work if it expanded the concept of art, sooner or later it became operative, it irreversibly upset the dominant art of context. Olympia Manet, La Montagne Sainte-Victoire by Cezanne , the readymades of Duchamp, the Bird in Space Brancusi, the White square on white background of Malevich, Kaprow's happenings are notable works. A work enough. Today it's different but apparently many do not aware of and act as if we were in 1909 .... To do today, that the white square on white background was a century ago, we must do things differently and act systemically in particular, consider the art sector as a whole. Use of one or more factors of influence on art in order to convert it to act strategically. We know now that the artist is at the bottom of the ladder. A politician, a collector, a gallery, a journal of art, the director of an art school, a curator and journalists are far more influential on art as an artist. Take into account this fact and include contextual in his artistic approach.

* Denotes artistic practice without its visual character. What is not perceived as art. Artistic invisibility.

Comcare Reconsideration Letter Template

Proceedings of the conference performance "The broadcast of the action stealth

July 4, 2010, School of Public Bétonsalon, as part of the Imagine Festival Now , Centre Pompidou Metz

Chérot Sophie Laurent Isnard, Nicolas Vargellas



So I made the proposal during a under the Public School to Bétonsalon on stealth action, this school was invited to perform at the festival during a Now imagine Centre Pompidou-Metz. I find it so explicitly requested by the institution to conduct a conference on "fun and general public, lively performances or reenactments .
"Replay" in a conference with an audience, an act of stealth, it not tantamount to denature it? Order one as well. Is not it impossible, even unthinkable, to do without fall into the pantomime or the animation? Demand for Metz Beaubourg to the artist a "facilitator" conference seems to reflect what Debord denounced already, namely a generalized spectacularization an entertainment company. The spectacle masks the everyday life of the agent, thus creating a separation between life and the show itself. Instead, shares are not stealthy, but take the city as a field operations, are reinvested in the offering of new uses, free and ephemeral, to the surprise of an unsuspecting public. Exiting the museum, not not rely on the signature play of its ambiguous nature, operating by stealth, to escape and to what, according to Stephen Wright, "one of the most debilitating charges whose art is the target : it's not for real, or, more frankly, it's just art. [1] claiming no artistic status, furtive actions can still have an impact on the world virulent at a time when "finally it is only art." These actions require not be presented as works for the witness that the meeting be more strongly exposed to the strangeness of their eruption.

The response of Laurent and Nicolas Isnard Vargellas, two students from the Ecole Nationale Superieure d'Arts Paris-Cergy, invited to address the paradox in my company, was to examine the conditions for receiving the stealth action . They then chose install four video cameras outside the conference area. The filmed image is broadcast live behind us on two LCD screens. Simply "switch" to move from one image to another. Students then improvise a speech, making believe that people who appeared on the screen are actors who are asked to make "stealth action". What was wrong. I put my hand to a theoretical discourse within their intervention: what is a stealth action, what it means vis-à-vis the audience, how broadcast illegal acts, what is much truth and fiction.



What is pointed here, in addition to the receipt of such shares and their distribution, is able to offer a perception processed materials to which, a priori, is not implemented. Orally, the artists "perform" acts artistically invisible (and even non-artistic). The word, as in Austin ( When saying is doing ) is act, performs the act [2]. We also raise the freedom that we all have to offer a "perception processed materials" to trivial issues to consider acts as artistic incongruous if we wish. As stated by Jean-Claude Moineau, "" art out of art "found in the private label proclaiming" art ", then it is undecidable even the fact of whether or not there is intent Art or [...] for short. The "receptor" to judge, to "decide" anyway for its own account if there is art or not, according to its own idea of art, freely, unconstrained by any label, the absence of any prejudice and any pre-judgment, as if there was no intention of art "[3] is the interpretation as a work of art that allow such acts to move from status Action banal than artistic. Danto's argument, in The transfiguration of the commonplace, offering a solution to the problem of artistic recognition of objects a priori have no intrinsic quality to merit that label. According to him, the object is recognized as a work in a particular social and historical context, and only if it is subjected to theoretical and philosophical interpretation can justify the interest that it carries. For the philosopher, the "interpretation belongs analytically to the concept of a work of art" [4], and therefore, the interpretation that ensures that we pass the "domain of simple objects that the service "[4]. Danto assigns the criterion of "interpretability" a property of differentiation, and interpretation, a constitutive function (which differs from the interpretation of explanation, it being possible once be made out). The artistic interpretation would be constituent first, and the object is not a work of art before the act. Thus, the interpretation makes a "transfiguration of the commonplace": "Interpretation is a process transformation: it looks like a baptism, not as it gives a name, but as it confers a new identity which makes access to the baptized community of the elect "While Arthur Danto seeks to resolve by problem readymade , particularly how an ordinary object can be perceived as a work of art, we can apply this theory to actions that can be perceived as a work of art. Indeed, the stealth action, first seen as a trivial act, at least not artistic, will be "transformed" into a work post, through interpretation which will be given. It is this notion that the conference plays.

Sophie Chérot artist, freshly graduated from the Ecole Superieure d'Art de Grenoble, ended the conference by reading a text describing the area as well as action, it could not achieve such she had desired, playing a clumsy and deceptive mode of the credulity of the audience. The image displayed on screens at this moment there was no other than the spectators facing themselves, which, we hope, then wonder about the status of previous images.



[It is also funny to note that the modes of publication a reality are mostly vector fiction. Thus the document sent by the Centre Pompidou-Metz for us instead we represent:


And the reality:

What glitters is "an architecture perennial semi translucent voile" where the conference takes place.

And to add a little, turn your head and ...

close bracket]

[1] WRIGHT, "The Future of the Reciprocal Readymade: use value and para-artistic practices," Parachute n 117, 2004, "p. 118-138.

[2] Austin explains: "When, at a wedding, the mayor said the two engaged " I now pronounce you husband and wife ", it does not merely see this union: it realizes by the very act of pronouncing the sentence. It thus exists in the language of the proposals, such as "you can have" , "I declare open the ceremony" , are not intended to transmit information ("I am here") or describe reality ("the table is green") , as do the statements "', but rather to do something.

[3] SPARROW Jean-Claude, Art in the indifference of art, Paris: PPT / Publishing, 2001 100.

[4] D ANTO Arthur Coleman, The Transfiguration of the commonplace , Paris: Edition du Seuil, coll. "Poetics", 1989, p. 202-203.