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Старый 05.11.2008, 15:34 Язык оригинала: Русский       #1
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По умолчанию You love the actual art? Well, and I do not love you!



The text Michel Tevo much pleased me, and I zahodelos acquaint with him and you. It was written several years ago, so that data since its publication have changed, but it seems to me that these changes are exactly in line with what Michelle describes Tevo, despite his refusal to act as poritsatelya. In general, read and judge for yourself.

Do you love the actual art? Well, and I do not like!

http://www.archipress.org/ts82/thevoz.htm

Michelle Tevo - keeper of the collection of "rough art" in Lausanne, professor of art history at the University of Lausanne.

Coluche (a famous French actor, author of comic sketches, died 15 years ago) told an anecdote that perfectly describes the current social relations. This is a story about a farmer in northern Canada, who chopped wood for the winter. Past him is an Indian. The farmer asked him kakya is winter this year. "Shibko cold" - meets Injun. Then the farmer decided to chop firewood twice, so as not zamerzut winter. The next day he cuts his wood, and the Indians again passes him and says, "Yes, this year's winter will be unusually harsh!". When the third day, Injun told him that the winter this year will be catastrophically cold, the farmer got angry and asked him if he makes fun of him, to which he replied: "Yes you are, never in my life! But the fact is that we have in the tribe have such a sign: if you see the white man's farm, hewers of wood, it means that winter will be very hard! ".

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Raymond Moulin, a sociologist of art, noted that in our time and the accelerated internationalization of trade and information exchanges modern art treasures are increasingly in need of international cultural, promotional and financial advancement. Of course, the centers of such promotion are especially fashionable galleries in New York and Madrid, Munich and Cologne, are in close contact with each other and occupy a quasi-monopoly position. But these galleries are the leaders rely on support from financiers, art lovers, which they manage to convince the importance of artists promoted by them. However, bankers and collectors will go for the risk to invest significant capital only if they believe that more formal organizations - museums, art fairs, as well as government agencies, defining the national cultural policy - also support these artists. In turn, all these organizations, which tend bashfully turn away from the market, base their choice on the views of the intellectual elite, art critics and art historians. Well, these latter are able to judge, visiting fashionable galleries in New York, Berlin and Paris. Here he is, anecdote Coluche! In our version more actors, but they formed their own opinions and personal beliefs as numerous.

It may seem that the role of art critics, is more significant that the choice of artists they are guided by their personal tastes. But we should not forget that all the work them is that they try to catch the latest trend, and, accordingly, their reputation rests on their ability to anticipate and expedite the process, and sometimes - just "ofitsializirovat" him. These experts feel that too personal assessment of art on their part - as part of any actor of the network - would be inappropriate and counterproductive. See how the Beat Vyuss, professor of art history at the University of Bochum, who wrote the book "Modern art scene in Switzerland", understands his role: "In this book, there are no discoveries. It is intended to familiarize themselves with current artistic trends that have received recognition from the public. Selection on the basis of a criterion for recognition of the public is more democratic than an attempt to show "real art world," broke through "the damned wall art dealers," because such an attempt would be a reflection of personal tastes of the author, his affections and resentments. "

Under such a choice, and fairness could be signed if he did not confuse democracy and recognition of the public with the tastes of the surface and satiated micro-microcosm, as well as if the author would have limited the list of existing routes and the arts, not "legitimizing" them. Having decided to follow the example of Beate Vyussa, curator, wants to fill up his collection, to sacrifice their personal subjective attachments and make purchases in accordance with the list specified in the "modern art scene in Switzerland", which is thus an objective normativity in retrospect. But can you suggest a more speculative or tautological system - in fact "responsible official" decision-making (Beat Vyuss himself a portrait-robot of the "responsible officer" - in the literal sense of the word) makes the choice not on the basis of its own judgments as to that, as he suggests, think the other "senior officials", who also try to adapt its choice to the choices of others, and mimetic of each link in the chain closes it?

This phenomenon characterizes the vicious circle of not only artistic medium and not only social mimetic. In quantum physics there is the concept of "bootstrap", which can be translated as "pull yourself, tien for their boots", which stands for the so-called "self-sufficient" power relations, because they lack even the elementary particles of matter, as in classical physics. So maybe the system in a closed circle of artistic medium has a right to exist, it is in their self-sufficiency? In the end, maybe this nebula, which exists solely through general delegation of authority and, consequently, devoid of any references were, flowing, like plasma, abiding in the weightless state, has the ability to attract into its gravitational field of everything, absolutely everything really significant works of art, in whatever deep underground they were created, like the farmer and the Indians Coluche, each of which is certainly in my heart had a feeling that winter will be harsh, but not believing in your own intuition needed to confirm the other, "human who should know "?

Perhaps. But to think that way - it means to believe that somewhere there is a "true work of art" that is something that serves as a model, a benchmark for what can be invoked, the objective value that exists outside the system and, therefore, able to cause a reaction that system. The man who thinks thus, remains in captivity romantic concept of the suffering and misunderstood genius, to whom fame came only after death.

However, in our time the artist has not remained unaffected by the phenomenon of the vicious circle described above. Instead, he fit in it, moreover, may be that it is his most clever and most shameless party. I refrained from trying to include it in the list of actors in the chain, but now call art criticism Marc-Olivier Valera, artistic director of Art Center in Neuchâtel, which could be suspected of ill-will - on the contrary, his statement is aimed at the protection of contemporary art and its distribution: "We must acknowledge that any artist Kako type of activity he would neither engaged, directs his own small business. He does not go anywhere Bed catalogs, invitations, folders, and copies of your notebook. At every opening day played pantomime data: here's my invitation! Thank you for the catalog! you have a great record! You must be able to develop and use in practice your strategy, choose the right solutions, to plan, produce, be physiognomist, polite and persuasive, as any president campaign. Each promotes its pawns on the chessboard of the world of art, which combines parody and exchange-deception. And no, for all his desire, can not escape this game (actually, this game is nothing new: even Moliere said: "He who is given to the court, hiding from the art").

Raymond Moulin said: "More and more artists, graduates of universities or higher schools of art, understand the artistic activity as a profession in which no place for contempt for money. And artists, and collectors have one goal - to raise prices. " In short, the artist uses his intuition to predict what will be popular this network, in which he participated with great enthusiasm.

Jean Baudrillard said that now is not the event creates the information, and information creates an event, and it allows information to avoid the criterion of truthfulness, as they themselves consequences of the expansion, even unproven at the time of its introduction of information gives it a kind of tautological reality. In the same way the actual art avoids the quality criterion, because it begins to exist only by virtue of its adoption of a virtual network - and at the time of the adoption. Many works of painting the official end of the 19 th century, they represent no artistic value, entered the history of painting for the sole reason that they conform to the tastes of his age and social environment, and thus received wide acclaim. But nowadays, with the development of planetary communication, the time required to "legitimize" practically reduced to zero: information is spread so rapidly that the product, so to speak, barely has time to create, it immediately becomes the object of distribution in the media, in fact, it is itself is this spread, as in a dream, when is enough to think about something - to lust or otvryascheniem with strazhom or in love - that is something immediately and confirmed.

But perhaps it is the destruction of reality virtuality saves the actual art of insignificance, ironically allowing him to still be preceded by media, fashion, advertising, etc.

In any case, talk about "art-meringue" outrage example of "show-biza" to unscrew the artist, as a new brand of soap, it would be inelegant and probably incorrect. First, because untwist soap or song-odnominutku, especially in the current developments - it is not easy. Eddie Barclay (known French variety show producer) said in an interview: "Of the 10 attempts to move the singers, which I believe, 8 ignominiously failed, in spite of my investments, money and energy. But I compensate for all losses in the two successful promotion. " Secondly, because the actual promotion of the artist is not dependent on the enthusiasm of the large pobliki - it glorifies specialized microcosm.

Yes, I think that the vicious circle of modern art - it may be that only movement worthy of our post-modern world. It does not matter what the quality of works, being born to these terms, since this is a work of art himself. He did not even need to self-destruct, as in "Study for the end of the world" Tengeli, as it has enough flavor to be virtual! This vicious circle - the last masterpiece, a magnificent and ironic embodiment of the principle MakLuana: "message - it means".


Basically, now I have to remove the sleeve from the list of artists, unjustly suspended system, which can be called a system protivohudozhestvennogo disarmament. Alas, the miracle will not! If, along with contemporary art within the system existed outside the modern art, this long would have known, of course, still are exceptionally interesting and innovative products that can be understood and accepted by a large audience. But it is clear that such works are created as if by inertia, that their time is over. In our time, Picasso, Matisse, Klee, Dubuffet, Warhol was no more. In comparison with the first seven decades of the 20 th century, saturated geniuses, the end of the century and the beginning of a new empty. Therefore, it is impressive contrast between the veneration on the verge of deification, which are surrounded by the creators of the first 70 years of 20 th century and the increasing loss of interest to the general public to contemporary art.

What is the reason? Maybe it's just a temporary depression, which will soon pass? In making predictions, you can be sure only one thing - that they will be refuted in the very near future, so do not expect me prognozlov - I do not want to give too much reason to laugh at me. But I tried to formulate several hypotheses about the causes of the current artistic sterility and willingly share them with you.
  1. The most frustrating, but the most unlikely hypothesis is that, like the audience, who admired the works of an official painting of the second half of the 19 century, we are struck with blindness or some kind of insensitivity that does not allow us to identify Monet and Cezanne of our time, despite that modern means of information planetary give us the opportunity to become acquainted with them. These masterpieces are looking us in the face and laugh at our nasposobnostyu identify them. But who can say that we were insensitive chocks? Progeny in the infallibility of which we must believe? Well, we do brilliantly played the role of descendants, glorifying quite an impressive series of geniuses, are not valued by his contemporaries. You could even say that playing the role of future generations, we set such standards of quality, we are so surrounded that role in such a prestige that our descendants will have difficulty if they choose not to strike his face in the dirt! Because of this, the prestige of the descendants, not devoid of elements of blackmail, which became the first victim of our own, many of us feel guilty of indifference with which we relate to current production (even if it is anything else and does not deserve), and to atone this fault, often excessive tolerance of actual creators, and enlightenment in this vsepriyatii no more than in the fierce denial. I think it makes sense to announce that the descendants - are we, finally and irrevocably, that is forever!

  2. In one of his essays Claude Frosch argues, not without provocative intent, that in the history of mankind there were two underlying dates: Neolithic Revolution and 1960. After a millennium of bitter struggle against hostile elements, who always took some supernatural form, the man won a decisive victory, if not over nature, then at least on his representation of these elements. And then in 1960 started the era of debunking the sacred and the frustration that Herbert Marcuse called "repressive sublimation". The current writers, artists, musicians, no less talented than before, but the difficulties which had to cope with their predecessors, no longer exists, and this lack of enemy recipe for indecision, his softness on irrelevance, not to say simply useless.

  3. There is another way of looking at things more optimistic. Jean Dubuffet in 1946 predicted the disappearance of geniey and rejoiced in the degeneration of this harmful and terrible rock dinosaurs: "Great people, no more geniuses. Finally we got rid of these dummies with the evil eye, which, along with centaurs and gippogrifami, we head to the ancient Greeks invented. Geniuses do not, there are no unicorns. And to think that over three thousand years we were so afraid of them! ". He echoes graffiti, made in Paris in 1968: "Art is life, when the artist dies last." Apparently, this situation also applies to the world of thought - the silence of the intellectuals, if not their disappearance, is a promising sign, given that public opinion has long since shifted all the ethical issues on the shoulders of professional thinkers. It might be a silent invasion heralds era where no one will quarrel with each other, without age guru, without arrogance, without Marx and Jesus, passing under the sign of femininity (careful not to confuse femininity with feminism!). Such a change in living conditions can be found socio-economic justification in reducing the working day, experiencing, so far as fatal, when it takes the form of unemployment, but which has a liberating potential. We are all born artists, you need only create the conditions so that we remain their entire life. "If you want to read a book, write it!" - Jules Renard said. You want to have a picture? So Draw it.


I hope that I have correctly described a number of hypotheses, and some of them would not prevail, I can now put the question of survival of the plastic arts. It is possible that a fashionable gallery owner, a banker, takes himself for Lorenzo de 'Medici, markizik-esthete, director of the Kunsthalle in search of the suite, an artist with attaché cases, in short, this microcosm, so closed, so unsympathetic, malokommunikativny and wasteful, it can take into oblivion and no dramatic consequences for humanity of this will not be. But do we really want this? In the end, the capitalists who invest in the relevant art, are potentially major environmental pollutants. Each Armleder, each Federle, each Moser, etc., hanging from the wall or the collector is not stored in the museum's storerooms, means that the world will see for several kilometers highway, several limousines or more ugly office buildings less. From an aesthetic point of view has this advantage is unquestionable!



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Старый 05.11.2008, 17:20 Язык оригинала: Русский       #2
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... now not an event creates information, and information creates an event
Yes, I think that the vicious circle of modern art - it may be that only movement worthy of our post-modern world. It does not matter what the quality of works, being born to these terms, since this is a work of art himself. This vicious circle - the last masterpiece, a magnificent and ironic embodiment of the principle MakLuana: "message - this means».
Yeah old McLuhan was right. Even before the 80's foresaw the impact of media on mankind, in particular the example of television.
Thank you, very interesting article



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Старый 05.11.2008, 17:43 Язык оригинала: Русский       #3
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Дааа rights McLuhan was an old man. Even before the 80's foresaw the impact of media on mankind, in particular the example of television.
Thank you, very interesting article
Maklyuen finally found a solution. precisely his pessimism was replaced by a healthy optimism. What to you want.
In contemporary art there is a healthy grain.
But in the speculative mimicry of art whether it is sealed by the traditional or topical nothing. And by consciously or not makes no distinction between them.



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Старый 22.12.2008, 15:05 Язык оригинала: Русский       #4
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excellent article. clear understanding of the processes taking place in contemporary art. Copy it yourself. Thank you!



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Старый 23.12.2008, 21:09 Язык оригинала: Русский       #5
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Excellent article, thank you!
I was too strained to exist for a long time (and price) of modern art - is unclear, there is nothing and fortune. Especially when you consider that I - the artist-"evolutionist" - well, like "take the best from the past, but do not make a mistake."
And then (recently got on this site) - I saw a lot of people love what is called "plastic arts", and completely stopped worrying about it. Surely all of us, an army (well, not the army, so the body - not the body, so the division) will be able to impose a love for zaspirtovannym sharks? I personally Kunst-cell was 30 years ago and since then has never wanted to visit there again.
   By the way, "Kunst" from German into Russian is a sort of "art"!
So the first Russian topical gallerists was Peter 1.
    Actually, IMHO, all this is an actual art - the product of rotation of the mad mind that is not part of engagement with reality - as in the car, if you press the gas and the clutch is not released, it will be a lot of screaming, but the car would not go.



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Старый 29.10.2010, 13:43 Язык оригинала: Русский       #6
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LCR, Contemporary art - art is a news, it emerged after the exhibition "Sensation". The idea that a work of art only works when you have it for the first time you see, in short, is a concept that you reported. That's it! It is not necessary to look at it again - you already know. He did not stand up to any analysis: all have once been, but the specifics of course new. Often used in Dada, that is, combination. From throughout the history of contemporary art is one thing turned museum and the new - a "Pope killed by a meteorite," Cattelan. Here, the new content that, in fact, the area of the writer and not an artist. Which later was proven by Dan Brown's The Da Vinci Code. " The same "subjunctive fantasy." AND EVERYTHING! And all these .. portrait of filicide, made prints of children's hands; Madonna with elephant dung; tent with the names of lovers, shark, calf, pills, ... - Well, complete rubbish, husks and cheap. All walk into the installation! If you are an artist, so take a brush and Speak out! They do not even realize that the Academy of visual - this easel painting. Then, the normal artist must develop his style, his visual language, and here - that sculpture, tablets ... In general, a complete scam. And then, for each event must see the person who inspired this event. Saatchi, a billionaire, yes. Well, in mind-that he was "a genius", or what? Its scope is reflected in his actions. He can not jump higher than their brains. Had the opportunity to speak - spoke out, everything is clear. Passed. Contemporary art - it's a pause until the next opening will happen in the art of the present, fundamental. This is devised to gallery owners, art for the whole crowd. For fools investors. Excellent! But the role of some of the history of art it will not add anybody, no matter how hard you try. This - as tulip fever. And only.



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Старый 29.10.2010, 13:55 Язык оригинала: Русский       #7
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I think all art has a right to exist and equal time, by comparison, selects the most valuable, including through trade. Lack of comparison is the result of manipulation almost always.
In general, it has become pivychnym separation of genres and this makes sense, but better overall great exhibitions, competitions, etc.



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