L’artZ all-in-one!
Christoph Schlingensief might be an artist who tells us what’s the reality between art and religion today but not « Traces du sacré ». It’s very sorry that Centre Pompidou presented an obsolete exhibition like this.
ps. Art - Esprit, es-tu là ? Continue reading ‘With or Without God, does it matter for art today?’
Tate’s fourth Triennial exhibition, curated by Nicolas Bourriaud who co-founded the Palais de Tokyo in Paris, opens at Tate Britain in February 2009.
It will explore what ‘modern’ means now, in the globalised culture of the early 21st century. Bourriaud has come up with the new concept: ‘Altermodern’, and he uses this to describe art being made now that belongs to the global era and is a reaction against standardisation and commercialism.
This art is characterised by artists’ cross-border, cross-cultural negotiations; a new real and virtual mobility; the surfing of different disciplines; the use of fiction as an expression of autonomy; concern with sustainable development and the celebration of difference and singularity. Continue reading ‘Altermodern_Tate Triennial 2009′
當代藝術如何避免變成浪漫的形式主義者？這個問題指出了現今當代藝術的危機-虛無主義式的浪漫主義… Alain Badiou的藝術哲學批判觀點裡，不只是人道性的訴求，也是美學性的訴求 : 反對現代主義澹溺的『藝術自治』的形式主義意識型態，Alain Badiou點出它最負面的殘餘-插畫性與裝飾性 illustrative & decorative的拜物教藝術。
藝術應該是一種社會性的空間，也有政治性的必要。華特‧班雅明（Walter Benjamin）在＜作者作為生產者＞（Author as Producer）一文中寫道：與其問「一件作品之於當時代之生產關係的態度為何？」不如提問：「它在其中的位置為何？」他說：“作品的政治傾向是一個重要的問題，但卻不是一個好問題…。面對一件文藝作品，先別問作品的政治立場是什麼，而應問這作品在社會生產關係中，占據了什麼樣的位置，示範了什麼樣的生產方法？”
Below are the 15 points Alain Badiou discussed at the Drawing Center in New York december 2003.
The question: how can contemporary art avoid being formalist romantic?
By form he possibly means organization, anything you need to make art with, in the general sense of the word. It is not form as opposed to content. By romantic he means for example when one considers our reality to be bad, when one strives a better reality, when nihilism is the dominant mode of thinking (romanticism-nihilism).
Continue reading ‘how can contemporary art avoid being formalist romantic?’
Ce workshop <<ART & INTERNET>> proposé par Liliane Terrier avec Yi-Hua Wu, est une pratique curatoriale en vue du geste de collection et de contribution. Les participants au workshop joueront le rôle de <pré-> et <post-> spectateur en observant subjectivement au travers de la visite du site (exposition/atelier) physique et de la recherche du site virtuel et à construire une sorte de concept personnel collection, et ensuite de trouver une approche critique face aux informations contenues dans les œuvres rassemblée. J’invite les participants à prendre conscience de ces idées avant visiter les lieux d’exposition, les ateliers, et aussi d’en rendre compte d’en leurs contributions. Continue reading ‘Lecture in Workshop >ART & INTERNET<’
台灣在資本主義的隱形法西斯下，沒有夠好的文化政治體質，社會心靈倦痿的各種現象在龍應台女士的文章裡，總是一針見血地叫人大快人心，尤其是這篇在中國時報～人間副刊所刊登的《文化政策，為什麼？》。
可是我不太認同該文中寫道 :
你說國際水準的歌劇應該大量引入，我說本土的式微傳統藝術才是我們最該花錢的地方。你說前衛藝術值得支持，我說前衛藝術是騙人的，小學藝術教育才是重點。
每個時代都有它自己的藝術語言要表達，或用海德格的話：『我們在藝術作品裡尋得時代的真理』。當代的前衛創作不全是在騙人，仔細研究，往往好的創作都是有歷史視野的，它可以靈活地繼承與顛覆歷史，與歷史對話。傳統與當代的前衛創作的發展，並不必然相衝突。具有歷史視野，也有國際視野的均衡文化政策是較理想的。對傳統創作的保存若是過度偏執，過度嗜古反而讓社會的創新力受壓抑。
龍應台◎文化政策，為什麼？
來源 2008/5/12~14 中國時報 人間副刊
文化就是唱歌跳舞？
如果文化是公民社會的基礎，那麼文化政策在政府的運作中又佔了一個什麼樣的地位呢？
A thrilling book … despite it focuses on contemporary art, it is potential to expand the field of research upon some experiment performance/theatre as well.
Contemporary Art: From Studio to Situation
This book, edited by Claire Doherty and published by Black Dog Publishing, describes the shift in focus that has taken place in much contemporary art practice in the last decade. From the notion of relational aesthetics to the concerns of site-specificity, this book provides a new critical investigation into the production and curation of contemporary art. Including reprints of seminal texts alongside new essays, interviews and case studies by leading international artists, writers and curators, this anthology provides an overview of this increasingly significant (and contested) field of art practice.
Continue reading ‘Claire Doherty : From Studio to Situation’
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