Posts Tagged 'Kulturproduktion'

Review What´s next Symposium und Workshops Köln

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Generation Blank

The beautiful, cerebral, ultimately content-free creations of art’s well-schooled young lions. By Jerry Saltz (New York Magazin, June 19, 2011)

Iwent to Venice, and I came back worried. Every two years, the central attraction of the Biennale is a kind of State of the Art World show. This year’s, called “Illuminations,” has its share of high points and artistic intensity. (Frances Stark’s animated video of her online masturbatory tryst with a younger man hooked me; Christian Marclay’s The Clock, which captivated New York earlier this year, rightly won the Gold Lion Prize for Best Artist.) Yet many times over—too many times for comfort—I saw the same thing, a highly recognizable generic institutional style whose manifestations are by now extremely familiar. Neo-Structuralist film with overlapping geometric colors, photographs about photographs, projectors screening loops of grainy black-and-white archival footage, abstraction that’s supposed to be referencing other abstraction—it was all there, all straight out of the seventies, all dead in the water. It’s work stuck in a cul-de-sac of aesthetic regress, where everyone is deconstructing the same elements.

There’s always conformity in art—fashions come in and out—but such obsessive devotion to a previous generation’s ideals and ideas is very wrong. It suggests these artists are too much in thrall to their elders, excessively satisfied with an insider’s game of art, not really making their own work. That they are becoming a Lost Generation.

Our culture now wonderfully, alchemically transforms images and history into artistic material. The possibilities seem endless and wide open. Yet these artists draw their histories and images only from a super-attenuated gene pool. It’s all-parsing, all the time. Their art turns in on itself, becoming nothing more than coded language. It empties their work of content, becoming a way to avoid interior chaos. It’s also a kind of addiction and, by now, a new orthodoxy, one supported by institutions and loved by curators who also can’t let go of the same glory days.

Consider the most celebrated younger artists on hand in Venice. A wall label informs that Ryan Gander’s color-squares on the floor derive partly from Mondrian’s. This not only defangs Gander’s art; it makes it safe for consumption. It is art about understanding, not about experience. Rashid Johnson’s mirrored assemblages have luscious physicality but are marred by their reliance on familiar mementos drawn from the recent past. (Unlike his influence, Carol Bove, whose Venice installation of modernist-looking objects opens uncanny windows on seeing, scale, and memory, Johnson uses those objects merely as a crutch.) Seth Price’s glossy paintings with rope look like a slick cross between Martin Kippenberger and Marcel Broodthaers, ready-made for critics who also love parsing out the isms of their elders. A feedback loop has formed; art is turned into a fixed shell game, moving the same pieces around a limited board. All this work is highly competent, extremely informed, and supremely cerebral. But it ends up part of some mannered International School of Silly Art.

Art schools are partly the villain here. (Never mind that I teach in them.) This generation of artists is the first to have been so widely credentialed, and its young members so fetishize the work beloved by their teachers that their work ceases to talk about anything else. Instead of enlarging our view of being human, it contains safe rehashing of received ideas about received ideas. This is a melancholy romance with artistic ruins, homesickness for a bygone era. This yearning may be earnest, but it stunts their work, and by turn the broader culture.

Objekt zur (Finanz-)Krise

ein Kunstobjekt von Thomas Moor (BA Medien&Kunst – Bildende Kunst)

Handliche Hunderternoten zu verschiedenen Verwendungszwecken.
Diese geschredderten Hundertfrankennoten (8. Serie/1995) werden zum Verkauf angeboten. Der Kaufpreis verhält sich linear zum Wert der geschredderten Noten, gemessen wird dieser anhand des Gewichts (eine Hundertfrankennote wiegt 1,099 Gramm). Die meisten angebotenen Portionen bewegen sich zwischen 3 und 5 Gramm (CHF 272.95 bzw CHF 454.95), gerne wird aber natürlich auch auf individuelle Grössenwünsche eingegangen. Für Studierende bieten sich die 1-Gramm-Budget Portions an (CHF 91.00), für Kunstsammlerinnen und Kunstsammler mit grösserem Kunstinteresse werden natürlich auch Deluxe Bags mit bis zu 200 Gramm (CHF 18’198.35) angeboten.
Bei Interesse im weitesten Sinne kontaktieren Sie bitte Thomas Moor (2. Semester VBK ZHdK) unter thomas.moor@zhdk.ch. Danke für Ihre Aufmerksamkeit.“

Weitere Fotos:  Weiterlesen ‚Objekt zur (Finanz-)Krise‘

Imanuel Schipper: Theater

Was kann das Theater für die Gesellschaft tun?
Die heutige Gesellschaft befindet sich in einem grossen Wandel, schwierige Aufgaben stehen und bevor – Globalisierung, Weltklima, Migration, Urbanisierung sind nur einige Stichworte. Das Meistern solcher Aufgaben ist kein organisatorischer planbarer Prozess, sondern ein kulturelle, politische und gesamtgesellschaftliche Herausforderung. Kulturproduktion und Kulturvermittlung bekommen dadurch neue, wichtige Bedeutungen und ich bin total überzeugt, dass Theaterhäuser durch ihre zentrale Lage und offenen Architektur eine zentrale Rolle dabei übernehmen können. Sie haben ein grossartiges Potential diesen Prozess zu begleiten, unterstützen und reflektieren – ein öffentlicher Bildungsauftrag, der weniger mit Schule zu tun hat, als mit bilden im Sinne von gestalten, darstellen, realisieren – möglich machen zum „sehen“ (Theatron = Ort des Sehens).