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Art in the midst of financial crisis

Запись от noart размещена 15.05.2010 в 20:22

If you suddenly do not know, last week broke up four major financial institutions in the U.S., and the government had to intervene to keep financial markets afloat. The press is very little written about how this crisis might affect the art world. The exception - a small article on 17 September artnet.com. It turns out that the bankruptcy of Lehman Brothers can still pretty much hit the art. Lehman owned by Neuberger Berman («giant asset management unit and one of the few bank branches that earn revenue in recent months), and this company owns a huge corporate collection, which now goes under the hammer. Bankruptcy Lemanov also impact on American museums, as it turns out that the bank has sponsored a variety, and very well-known institution in New York (Metropolitan Museum of Art, New Museum, Whitney) and outside (Tate in London, the Louvre, Städel in Frankfurt , Mori Art Museum in Tokyo). Reduce sponsorship can become a turning point and lead to the museum crisis, and therefore, the sale of collections (that America is not prohibited, unlike in Europe) and redundancy. If you are not afraid, read more about it here.

Golden calf
Now imagine that the whole world - a great auction of works of art. How would generated art "gold rush" in which the collapse of capitalism as an aesthetic experience becomes the new universal equivalent, sweeping away all the old market structure and long before the Judgement comes to power, ousting the economy and politics.
The confirmation of such apocalyptic visions can serve as a case of Damien Hirst, whose work recently sold a two-day auction at Sotheby's for 200.8 million dollars in total. What does this mean and why Hearst? Lies in whether this any sense, except that the artist had the entrepreneurial instincts to outwit gallerists? And why is it so important? Art critics and journalists can not explain it, though, of course, they are terribly excited. But no matter what they say, it only add fuel to the fire. Therefore, their lyrics sound so pompous.
Robert Hughes (Robert Hughes), a conservative who loves the artist Lucian Freud (Lucien Freud) and became famous for the fact that in the late 1980's - early 1990's blasted right by Julian Schnabel (Julian Schnabel), now chose the target Damien Hirst and ridicules his work as an imitation of art, which can only deceive the gullible and which is best to hang next to Richard Prince and a very bad late Warhol. His tirade that Hirst's work - cheap amateurish and idiotic, quite funny. But in this case in point: it is assumed that the art of Hirst mechanistic designed, cold, but, according to Hughes, it is also done anyhow, and only then he can not give up.
"Watch as Robert Hughes on Damien Hirst Lupita's funny but even funnier would be if he could get into it" - responds in the same Guardian columnist, a famous feminist Germaine Greer (Germaine Greer). She wrote that Hughes knew nothing about conceptual art, his mastery of modernist ideas about hopelessly outdated. Hughes still believes that great art not subject to the ravages of time thanks to a kind of inner qualities. But Hurst's better know. The money that paid for his work, confirmed the essence of this work, but are not in themselves. Hurst best realizes that consumers of his work can not understand what this essence. His dead cow, a direct descendant of the Golden Calf. " It seems that it is quite reasonable.
Robert Smith (Roberta Smith) from the New York Times is also responsible to Robert Hughes, but in a somewhat more pragmatic manner. "Amazing how many people behave as though until very recently, art and money were located on opposite sides of the ethical barricades, as though between them originally had no close relationship," - she writes. Manet and Courbet auctions organized their own pictures, so why not Hirst? Secondly, she believes, the very essence of his work - to make the business of art looked dirty and overly inclusive. That in itself is also an excellent business strategy. "Mr. Hurst makes meaningless the claim that he is" democratizing "art, but in reality he only expands its customer base by people not too versed in the art."
Moscow madness
Meanwhile in Moscow ... "This week in Moscow there was insanity on the grounds of art" - wrote Kemblin Victoria (Victoria Camblin) in a blog on artreview.com. Then she complains that Tusovka around Dasha Zhukova was only for my own, and because the very Victoria in "The Garage" was not allowed, she had to go to Gagosyanu, so it is not enough "good look at the celebrities." Luke Hardin (Luke Harding) The Guardian was more pushy, but its a great article on "Moscow madness" is focused exclusively on Dasha Zhukova. There is even a clip with her impeccable English. Himself Kabakov devoted only one paragraph, and in general it is that the press laconic in this respect.
Daily business publication written mainly about the exhibition at the Gagosian factory "Red October" and that she, apparently, is contrary to the talk recently about a new Cold War and featured worsening economic crisis. Financial Times picks up and develops this paradox: "For a few hours before the opening of the temporary Gagosian Gallery in Moscow trading on the Russian stock exchange was suspended, President Dmitry Medvedev cursed NATO, Deputy Prime Minister Igor Sechin, popped in Venezuela and praised the country, calling it" one of the most reliable partner of Russia. " Continuation of the article seems to customized material. News agency Bloomberg has dedicated exhibition essay correspondent John Varoli (John Varoli), which is also very similar to part of an advertising campaign Gagosian. Half the buyers of contemporary art comes from Russia, the author claims. Kabakov retrospective mentioned in passing, merely for the sake of notice that the chief adviser "Garage" Mollie Dent-Brocklehurst (Molly Dent-Brocklehurst) previously worked for Gagosian. At the moment it is the most trivial connection, which can be found between these two events.
Political Art in the Park Avenue Armory
In America, the financial crisis fell on the presidential campaign trail, and politics "poured into the air, though, rather than as an expression of real social forces, but as the atmosphere of escalating paranoia and helplessness. It's like when you read the article in the New York Times, devoted to the newly opened political show in Park Avenue Armory. It was attended by veterans of the political art of the United States, including "Critical Art Ensemble» (Critical Art Ensemble). With one of the members of this group is associated the famous process: he was tried for the fact that he opposed the Patriot Act and experimented with the bacteria. Participants also Internet artist Mark Tribe (Mark Tribe) and artist Sharon Hayes (Sharon Hayes), which is famous for its political performance. Exhibition - a fake party congress, which nominate presidents. It coincided with the elections, but rejects the current model of American politics in general and raises squarely the question of democracy and freedom.
It's great that New York Times has finally begun to cover such events, or publish detailed articles on such policies as Olivier Besancenot (Olivier Besancenot), which is now in France establishes a new anti-capitalist party, to defeat Nicolas Sarkozy. However, judging from photographs, political art can not do without advertising in mainstream media: a massive space Park Avenue Armory is empty, so it seems, there is a "publicity without an audience, which has a very specific audience. However, the situation could change if the economic crisis will lead to the radicalization of American politics ... But are the so-called "political artists" to meet the challenge whether they are able to go beyond a narrow circle, and appeal to the public in general?
Maybe. At least most of us are in accordance with: the very notion of "political art" as it emerged after 1970, requires serious rethinking. Otherwise it can become an instrument of populism, which is disguised as a democracy, liberation, or worse, a kind of formalism for dealing with ...
Everything you always wanted to know about Jacques Rancière but were afraid to ask
One of the most important people, who reconceived the political dimension of art - the French philosopher Jacques Rancière, whose work in recent years have gained almost universal recognition among curators, artists and critics, regardless of whether those Marxists, anarchists and autonomous ardent neo-liberals. Everybody loves Jacques Ransera. This also means that Rancière was hard to resist turning the product into a commodity. Ever since then, when Artforum in March 2007 was published his lengthy interview, his work vulgarize, instrumentalise and trivialize almost all members of the artistic process. That does not detract from the originality of his contribution to the understanding of art.
To better understand the work of Rancière, look at the recent issue of the magazine Art and Research. It documented two-day symposium with his participation, which was held in Amsterdam in 2006. It took place in a more relaxed and informative atmosphere outside mediatsirka Biennale and magazines on art. Reading material is enough for at least a month. First, it is the text of the Rancier, in which he formulates the basic principles of his political philosophy of art as the practice of aesthetic disagreement that creates the dilapidated, is extremely heterogeneous community by identifying problem areas and move the boundaries of sensory perception. " The text is accompanied by a sumptuous selection of critical articles, interviews and round tables that shed light on the theory Rancier, its context and the political and aesthetic debate that it provoked. True, this is obviously not the easiest reading, to the same material is slightly outdated, since the seminar was held in 2006. That illustrates the central problem: the most reflective, critical, political part of the art world is moving at a snail's pace and no time for the development of real politics. Yes, it is not necessary.
Schnabel is alive, and Rauschenberg are no more
For reflection on contemporary art and its significance Rancier, of course, useful. But there is something else, as in any case should not be forgotten. Namely: Julian Schnabel is alive and well, and Robert Rauschenberg has died.
Julian Schnabel has become famous as an artist in the late 1980's, and critics like Robert Hughes (who is busy now that wets Damien Hirst, see above) accused him that he was incompetent crook. However, he somehow managed to survive the recent crisis in the art market, and later critics hailed his films, and he even won a Palme d'Or "at the Cannes festival as best director. People often forget that in the early 1990 Schnabel famous for its arrogant behavior, such as calling himself the new Picasso, which was, in general, typical for that time. And his position is strongly influenced by artists of the Young British Art (YBA, Young British Art), such as Damien Hirst or the Chapman Brothers. I should reassure you: Schnabel as he was, and remained an asshole. In fact, he even deteriorated. It depicts a poor boy in the role of the passionate aesthetic, not afraid to plunge into the very sociality which Ilya Kabakov recently dubbed "pink pus. Here's a piece on trial - a recent essay about him on atreview.com. This kind of guys we all love to hate ...
Nothing to do with Robert Rauschenberg, who died in May this year. That's a really complicated artist, who too often and unfairly turns in the shadow of Andy Warhol and his ilk. Artforum published a civic memorial service for the Rauschenberg with texts of various critics and art historians, who remember him as "probably the most influential figure in postwar American art» (sic!) The online version of the article included the critic Barbara Rose, who was personally acquainted with artist and art critic Brenden Joseph (Branden J. Joseph).
When I read these texts, I have the feeling that Rauschenberg and his aesthetic problems belong to quite another, departing time. These whimsical and touching elegy in its formalism, and old-fashioned commitment to the myth of the artist, and reading them, you can learn a lot about pop art, for example, if you are a student of art. And if you suddenly feel sad or bored, try to focus on the main tragedy of what happened. It is not that person has died (after many years in a wheelchair), and that he was such a sensitive artist, though so often went astray. And this sensitivity that means something, and now it no longer exists, or, more precisely, it returns to us in forms of politicized epilogue. That's it. End of story.

[COLOR="Red"]Not a lot, and the Briton is not sweet. The oligarchs which he inflated the price will be in shock from how to start falling prices incompetent Hearst[/COLOR]
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