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.
0 comments:
Post a Comment