A brief guide to the art-revolutionaries

[Артюх Игорь]

Originally Posted by Vivien

There are a few.

Narrow please

[Кирилл Сызранский]

Originally Posted by Artyukh Igor

Narrow please

And'll never read Tolstoy? : D

[Вивьен]

Originally Posted by Artyukh Igor

Narrow please

Hans will not destroy - send to the Museum of Anthropology.
History must be supported by artifacts.
Well, where else?
let and say thank you for it.
and you were too lazy to write such a treatise.
Frankly was too lazy to read these "bricks".

[Артюх Игорь]

Originally Posted by gans

A Artyukh will, and not on the forum.

China is the last warning Hans

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Originally Posted by Vivien

Hans destroy not going to - you to the Museum of Anthropology.
History must be supported by artifacts.
Well, where else?
let and say thank you for it.
and you were too lazy to write such a treatise.
Frankly was too lazy to read these "bricks".

when such statements sound in my address - it is not who is outraged.

[Артюх Игорь]

Originally Posted by gans

This is not a warning.

threat??

[color="# 666686"]Added after 4 minutes[/color]
gans, you here http://forum.artinvestment.ru/showthread.php?t=24755

[gans]

Originally Posted by Artyukh Igor

a threat??

The statement of fact, I have already warned that the once-a nebylo personal insults.

[Артюх Игорь]

Originally Posted by gans

The statement of fact, I have already warned that the once-a nebylo personal insults.

and what do you personally offended??

[color="# 666686"]Added after 13 minutes[/color]

Originally Posted by Art-lover

A brief guide to the art-revolutionaries
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

Let's now a long guide for the art-revolutionaries ...

[Вивьен]

when such remarks sound to me - it is not who is outraged.

Igor, it's unpleasant to everyone, when in his address expressed in this way. But such statements certainly follow some negative, and with your hand.

[Art-lover]

Originally Posted by Admin

In general, everything. Tired Wiping forum of garbage. Artyukh Igor banned again, and now finally.

Because of laziness, leftist posturing and irresponsible shapkozakidatelstva Ukrainian ArtRevolyutsiYa canceled. But could be. For confidential information, Ukr-artokraty Solovyov, Gudimov, Karas, Khamatov and so forth. have to pack suitcases ...

However, no need for tears. This is not the first nor the last Ukrainian revolution. But the most infantile of them: the revolution starts with an idea, but here it was not in the bud.
Incidentally, our art-revolutionaries could benefit from the experience of successful integration into the system (which, actually, they are sought), his recent predecessors. Ulyanov, for example.
No, Volodya, as you think, and Anatole entrenched in proza.com.ua. He, at least, offered rrevolyutsionnym artists constructive steps in the form of aesthetic jihad. : D: eek:

To another wave ukr. art-anarchists do not have to reinvent the wheel - the word the young ukr. art criticism A. Ulyanov.
 
Claustrophobia artists
mobile picture

Since the majority of artists - are people incredibly cowardly and hysterical, any contact with society calls them puppy shivering. The ambitions of the artist positions require universal pastor, while the social environment, to put it mildly, and wanted to spit on the artist and his art. Social life, in the end, it is a huge glowing fist.

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No wonder that contemplating it, the artist could not help whimpers, sweats, pees in his pants, depressed and yearns to get through the dark gap in the swamp, where he was recognized, appreciated and will take as his beloved idol. Thus was born the desire to conserve himself in the galleries.

It is understandable why gallerist and separate "Mitzi" phenomenon "gallery" like. It not only forged loot, but also multiplied highly artistic sodomy in the name of titles and awards, cloned monopoly and statics prestige. Here is my fashionistas who come to drink Martini, chew olives, dried turd watch and popizdet in the spirit: "What a subtle game with the tone, concept and metaphysical motifs in the spirit of the Gnostics and lobbyists neovremenya.

All this is splendid, charming and pitiful. All this fuss in pi.dolaskovaya ugristom pus. Social fist as he was, and still is. Poets die, but society thinks about the sausage.

Thanks to the creative infrastructure and galleries in particular, the art, according to the British artist-terrorist Banksy, has become the latest big cartel. A handful of people making art, a handful of his purchases, a handful of shows. But millions of those who come to see him, nothing to say.

I think it might be wise to come to wellness following assumptions:

• artist can get rid of intermediaries;
• artist can avoid hangouts elected;
• artist can stop having sex with owners of galleries;
• artist can leave the static picture, not wanting to sour in boxes;

Nothing is more correct and inspiring than the aesthetic jihad against static galleries, a sacred poet claustrophobia. It should destroy their walls in order to transform the city in a gallery without walls, the territory of direct contact with the public. "In bypassing the" not shooting. They shoot straight to the heart, eyes, ears and minds.

Mobile gallery
Mobile-gallery has no superiors;
Mobile-gallery has no address;
Traveling exhibitions galleries arise spontaneously migrate and move around to different places;
Gallery-Mobile does not belong to anyone, but belongs to all;

Poets and artists have to seize the streets, blow up their creative bombs, where is boiling real life. After this revolution, the city is destined to become an absolute exhibition space, which was dominated by not one who is more wealthy, Jewish, homosexual, or a classic, and one who has the loudest bomb, who shines brighter than the one who is toothy and active. War artists should not happen in the pages of magazines, not smoking critics, not parties, but on the boulevards, squares and avenues. The dog against dog. Brush against the brush. Girl against girl. Boy against boy.

If we remain galereetsentrichnymi, will continue to worship encrusted prestigious galleries, then certainly we have a chance to be in his old age in a silk dressing gown, with a glass of expensive wine and a hearty gases in the stomach. Is interested in the artist? Perhaps. But there is something more important - an act that can be called revolutionary, a true and real. Art has no right to be reconciled with the statics, with a stable degree and constancy. The attack on the people, the occupation of the streets and abandoned buildings, rental of conceptual areas, mobile art spaces, the creation of spontaneous art galleries without idols-leaders - all of this is much more important than silicone boobs and a sweet smile, Marat Gelman.

Language streets and aesthetic jihad - is a real choice, real alternative, or at least, a worthy addition to the artistic life. Poetic radiance calls to destroy the static picture-idols, begging on the internal rave laws. Which poetic Protestants throw the first brick in their pathos windows?

Anatoly Ulyanov
Publication: 04 month 2006

And another piece of the theory of the same spill:
Sadism for the artist

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In the art, there are situations in which there is nothing more appropriate than violence. ...
Is the critic has the right to keep alive the artist who created the frankly nasty piece? If he would allow the artist to live, it will exist low-grade art.
...
If we hang the poets in the squares, a few years the country will have an unprecedented poetic force. A good artist - bulletproof artist. If he survived the shooting, his art is worthwhile. Check beatings - these are practices worthy of respect.
... What could be more holy and right, than fascism of cultural criticism, which arose in the field of culture, drowning in crisis?

Sadism on the part of critics is not enough. Strong artist, holding the reins of the vanguard of the revolution, must raise themselves with individual sadism. If you want to do avant-garde, is not enough to face world-average statistical sheep society. Laceration, transition faces a challenge, rebellion and protest - all this must begin with the artist. The artist must force himself, to cross to start the personal edge, personal barriers. The revolution begins with everyone. And expenditures over the set. Transcend themselves - it hurts. If an artist does not want the pain, let him be a teacher in a village school or herding cows on the outskirts of the state. Get out! Or do what you're afraid to do - this is what the voice of the god of art. There is nothing more beautiful than to tread on festering blisters his fear. There's nothing more respectful than overcoming fear. There is nothing more beautiful than the cut with the wounds of society, the most salt-sprinkled salt in the universe. They are no longer on the body. They lie side by side. They soon will not. Here God begins.

Anatoly Ulyanov
Publication: 11 month 2005

[Veronic]

Art Lovere, thank you!
These revolutionaries are adjacent here, as a rule, just a diffident person, who, after these revolutions were mercilessly thrown in the trash, as used material. And the revolutionaries absolutely no concern for his former colleagues, as their love is applicable only to them, as themselves, favorite rebels. We know it's all passed.