A brief guide to the art-revolutionaries

[Art-lover]

U-tzu said: usually raise an army to war because of five reasons: first - because of the fame, the second - because of the benefits and the third - because of the backlog of grievances, the fourth - because of internal strife, the fifth - because of hunger.
U-tzu. The Art of War

Revolutions in art - it needed, useful, tradition and ancestors commanded. Revolution suit confident men with a hawk's eye, muscles of steel and nezgibaemymi convolutions.
But, looking at the weakness and helplessness of some of our young rrrevolyutsionerov, I want to cry with pity. Where is their strategy? Where are the tactics? Where ownership of science to win Sun Tzu, Suvorov, Che Guevara? Who can shake the mighty hand, and, looking at the stern eyes, earnestly exhort: "the correct way, comrades!"? No such. Do not see the iron men, not marked on the map the correct path. Devious walks, spooky Offtopic and snotty complaint on the enemies that are similar to official reports superiors, the compromising tail wagging the local authorities - is whether the signs artrevolyutsii?? Where awesome roar of mighty geniuses? Where a drifting roof manifestos? Where deadly iron core arguments?

Okay. Youth more forgiving. We assume that these shortcomings - flaw of senior comrades in the struggle. And that conscience was clear, open School young artrevolyutsionera.
All those wishing to share their knowledge and combat experience - here! Together - all win!

What to do and where to start? Of course, a classic war, insurrection, terrorism and rebellion.
The first word on the right belongs to Comrade. Brener, peerless fighter with a market capitalization of Malevich. So

Alexander Brener
The Art of war against one institution

"Just as water has no constant form, and the war knows no sustainable ways."
Sung facilities for TCL "The Art of War"

For more than three years, I am a lonely Indian War with a big institution called "contemporary art". This is a very difficult war, and I already feel some fatigue.

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After all, "contemporary art", to which I say, this is not some monolithic, totally ordered to have worked on traditional models such as the institution of the Tretyakov Gallery or the restaurant "Slavic Bazaar", if it is, of course, exist. Tretyakov Gallery can show a half hours. But the so-called "contemporary art" is a product of modern political system neolibiralizma, and I may be somewhat barbaric opinion, this is one of the most effective and active models of the system. The model included a large current ideological apparatus of capitalism. Methods of the political system neolibiralizma excellently analyzed such authors as Michel Foucault, Frederic Jameson, Slavoj Zizek, Pierre Budrde. For example, Foucault pointed out that the current political system in the West no longer works in the mode of a rigid hierarchy, the apparent repression or reckless submission, but as a normalizing and providing public and private life of the mechanism as a system of controls and incentives, supervision and production. This system is not based on centralized and brutal power, but on multiple power relations in limited groups and institutions that serve and support for the entire social body. This system - flexible, complex structured and constantly involving themselves in more and more new elements: from the latest varieties of yogurt to the emigration of families from Africa and Asia, from the ultra-modern weapons to the latest artistic trends. Yes, yes, exactly: artistic trends in the modern world also provides control systems and production systems, such as sports and tourism.

The institution of contemporary art - is an economic and symbolic integrity, which are articulated in a heterogeneous multi-level representations of culture. This institution includes a variety of operational and mobile elements - different mikroinstitutsy and makroinstitutsy. Mikroinstitutsii - a gallery, dealers in their offices, collectors, artists, critics and other staff. Makroinstitutsii - Museums and Kunsthalle, the major curators and collectors, magazines and major exhibitions. All these elements are constantly regroup, hang out, mutate, survive and profit. As I said, they do not form a monolith or a hierarchy, but full of inner struggle and contradictions of individual conflicts and clashes, they always somewhere to move and something looking for. What do "something"? First of all, money, power, influence and success.

For a year now I live in Vienna and watch the local art scene. At this stage is not too obvious, but not very secret struggle between the various art institutions. The Association of Austrian critics (a subsidiary of international AICA) makes public accusations against the Museum of Modern Art in Vienna, inkriminiruya him "irrelevant" and "collecting dead objects." Some artistic groups struggling for power, using its war of Secession and the Kunsthalle, the Museum of Applied Arts (MAK), and other venues. Artists and theorists associated with the direction of "institutional critique", in their policy, relying on the rich cultural foundation of the insurance company - "General Foundation". Gradually ruin galleries looking for support from the government and private sponsors. Influential curator Weibel tries sit on two chairs: a critical and positive. Veteran aktsionisty immersed in a cheerful insanity of the Patriarchs.

All these complex and pulsating processes immanent in contemporary art institutions, they are the effects of inequalities and divisions, which are produced within this institution, and account for its existence. The institution is not afraid of these conflicts and transformations, they live by them. Local cynicism, the local rationality, partial hypocrisy, economic calculation, easy irresponsibility, intellectual "fast-food" - all this makes the modest charm of intellectual art-system. And most importantly: all of these internal imbalances and conflicts unfold within the great concept of "political correctness", who dictates the rules, strategy and tactics of artistic reproduction. This concept is the most powerful and indisputable a product of neoliberalism, it vnechelovechny phantom, it embodied a mirage. "Political correctness" - the kind of public consensus, which produces a coherent differences sorted inequality reconcile clashes, pacified conflicts. This is the type of political thinking, which focuses on withholding, concealment paramount and the simple fact, namely: the rule continues to generate huge inequalities, glaring asymmetry in the global world, and these inequalities may still be described in terms of slavery and domination. And the hegemonic culture, inconsiderable part of which is an institution of contemporary art, designed to conceal this elementary and requires urgent consideration a fact. And if you do not have to hide it no possibility, then the culture is trying to turn this fact into the game of critical discourses in the representation of disaster and despair, in the moralistic platitude or cynical anecdote. At the level of mass culture tamed and used yesterday's slaves, subcultural minorities, subversive elements. At the level of elite culture industry discourse grind all this in his excellent grinder and dumped his plate is not as, say, "incorrect" politically correct art, savage social art, cyber-feminism, savage feminism ... Refined cookery has always been a strong point of the art system.

And how do we fight it? However, there immediately arises a second question: Who is "us"? To fight? Who can make war against the institution? And for what?
I am writing this article in Russia's art journal. Hence, I write it for Russian, Moscow artists. ... These artists, as it were within the international contemporary art institutions, and as if out of it. Inside - because institution let metastases around the world, in Moscow, too. This is primarily metastases ideological, forcing artists myclit in the categories of contemporary art, even distorted, domesticated. In addition, Moscow artists poisoned understanding: a career in modern art - this is only an international career. But at the same time, these artists outside the institution - because the institution does not need too many Russian artists. Institution discriminate. And Russian artists, it is very frustrated: they, like all the artists in the world, want to succeed, attention, fame, understanding, recognition, money and power, finally ... It is difficult to them, it is difficult ...

No, speaking of the war against the institution, I, unfortunately, does not mean these artists. They do not want to wage war, they would rather dream of integration into the system. But in the name of what is necessary to wage war with the system, I know: in the name of the new relations in culture. Non-discriminatory, insubordination, nereprezentiruemyh in terms of frustration, competition and hegemony. New relationships in the culture - a relationship of dialogue, lack of transparency and orgaisticheskoy intensity. The relationship that should not predict, because they will need to develop not projective, but locally, specifically, here and now ... I'm not a complete idiot: the institution of contemporary art I do not overpower. "Calf with oak" - the words of the famous Russian writer and businessman. Wage war against the institutional means to continue the new, own discourses, which are not included in the current industry discourse, but hostile to it, consciously resist it. Opposes not blindly and ignorant, but intelligent and competent, and at the same time furiously. In the West there is (and always were) artists who have already begun moving in this direction. Their little, but they are there, because in the West, as always, there are a lot of things. These artists work with different concepts, sometimes very personal, sometimes of very great intellectual tradition. They were interesting to watch: Behold, for example, Marco Lodge in Italy, or Goran Djordjevic, New York, or Emma Goldberg in Dublin, or a group RAW in Belgium .. Their arguments against the institution of art clever and competent, original, and weight.

However, it is worth to remind that the intellectual arguments, unfortunately, do not show institutions. Looking for intolerance and ultimate disposition, we need a radically different position, we need machines of war, we need a body without organs. They can give is not the West, but only the third world. They are irreversible, I'm waiting for them to come, I did one of them. I bring my war with rotten eggs, leaflets and hysteria, water pistols and a frenzy, my accident complexes and the love of my wrong. (Barbara, you with me?) I hate political correctness and its repellent agents, I openly declare to them about my intolerance, I throw them in the face of my poisonous saliva. Only aggressive physical contact can change the world for the better!

June 18, 1998
© 1999 - Moscow Art Magazine N ° 23

[Артюх Игорь]

and you were too lazy to write such a treatise.
Frankly was too lazy to read these "bricks".

[Art-lover]

And you felt like it was the fruit of dozens of messages on the forum with bell?
Lazy people do not make revolutions. They only dream of.
But come real fighters. And victory will be for them. : cool:: cool:: cool:

[Артюх Игорь]

Сообщение от Art-lover

But the real fighters come ...

yes must hurry to patent his invention - ART Revolyutsiyu

[Кирилл Сызранский]

Сообщение от Artyukh Igor

must rush to patent his invention - ART Revolyutsiyu

To receive the money? At ART Revolution preying?

[SAH]

Сообщение от Art-lover

Y-tzu said: usually raise an army to war because of five reasons: first - because of the fame, the second - because of the benefits and the third - because of the backlog of grievances; fourth - because of internal strife, the fifth - because of hunger.
U-tzu. On the art of war

Thank you for always interesting to read your messages.

[Артюх Игорь]

Сообщение от Cyril Syzransky

To get the money? At ART Revolution preying?

2 more months ago, when I first stamped the word on the Internet ArtRevolyutsiya - laughing loud absolutely everything ...
Yes, everything is going according to plan ...
But the most interesting is yet to come ...

[color="# 666686"]Added after 2 minutes[/color]

Сообщение от SAH

Thank you, always interesting to read your messages.

And you that, and "War and Peace" read?
probably too interesting?

[color="# 666686"]Posted 6 minutes[/color]
Art-lover, A brief guide to the art-revolutionaries
Please expound on korotche, intrigued.

[Art-lover]

Сообщение от Artyukh Igor

2 more months ago, when I first stamped the word on the Internet ArtRevolyutsiya

At random a few guglom with dates:

Tamara Borisova. Semiotic square as a mirror of art-revolution. Article, November 1999

News archive for 2004 //Murmansk State University
Student Bauman Victoria Ebel became the winner of the first phase of urban competition "Art revolution»

2007 TV "Mir" channel "Art Revolution
Author-scriptwriter, presenter of the program "Art Revolution Andrew Shlyakhov (Shevchenko)

In Uzhgorod Палаці дітей ta yunatstva "Падіюн" відбулася "Art-changed," - Same Taku titles має традиційний festival for young дизайнерів одягу.
29 квітня of the Year 2007. Uzhgorod.

2009 Petersburg artist and poet, leader of the ART-REVOLUTION Dmitry Kremnev finishes writing conceptual paintings - diptych "The Truth"

But all true. Revolutionaries should not be embarrassed copyrights.

Art-lover, A brief guide to the art-revolutionaries
Please expound on korotche, intrigued.

For shorter contact directly to tov.Breneru. I think it is not difficult for you to reduce your message even before the three letters.

[Кирилл Сызранский]

Artyukh Igor, fi, if not beautiful ... : (And like something there "patent" ...: D

[Артюх Игорь]

thing is that Ukrainian ArtRevolyutsiYa - corresponds to the name, unlike the above.