Alan Schmalz. Appareils de Récréation

Jørgen Leth. The Perfect Human

I define the archive as a “para-institution.” And this relates to the fact that I conceive the archive as an artistic instrument of self-historicising (which in many cases blends with the artwork itself). The para-institution of the artist’s archive was designed for recording, presenting and diffusing ephemeral, often subversive activities, and it produced autonomous contexts. Artists’ archives often reflect on how the ideological apparatuses manipulate everyday life, moreover they inscribe the artwork in history from the artist’s standpoint. That does not only mean that they put the artwork in circulation and communicate it within a limited circle of kindred spirits. Frequently the artist’s archive has a further role, involving an attempt to control the reception of the work in the local and international setting. Such an approach takes a number of levels of comparative research into account. Work at the varying levels of textual or pictorial documents demands a re-evaluation of the relationship of original and copy and must reflect the documents’ modes of production and reproduction, and must also take into account their unique, unrepeatable arrangement in the artist’s archive. One cannot reduce the artist’s archive exclusively to purposes of communication. With the deliberate multiplication and diffusion of documents, things come to a point where archival practices break free from the instrumentalisation, reification and commodification of the artwork. – Daniel Grúň, Monument to a Heroine. Július Koller’s Archive and Processes of Self-Historicisation, September 2017

Art & Politics: Alfredo Jaar, Frieze Talks, October 8, 2017

wfw weekend #433

wfw weekend #432

Matmos. California Rhinoplasty ( A Chance to Cut Is a Chance to Cure)

Neil Beloufa, Sans titre, 2010, 15 min https://www.beauxarts.com/videos/larchitecture-des-souvenirs-avec-neil-beloufa/

wfw weekend #431

If I close my eyes at any point during the day, under any circumstance, I can clearly visualise images that have been etched into my memory. Sometimes they are important ones that bring comfort, that are capable of transporting us to a moment in our lives that makes us feel safe. I like to think of them as a sort of vital pedestal; a base to lean on for support in order to carry on walking. – Juan Canela, Walking with Images, August 2017

#laterpost 1973. Michael Craig-Martin

wfw weekend #429

wfw weekend #428

Options open to painting have in the recent past appeared to be extremely limited. It was not that everything had been done, it was rather that the impulses to create which had functioned in the past were no longer urgent or even the one-to-one relationship experienced in representing a scene or figure in paint – none of these acts was credible in the way it once had been. Abstraction appeared to have been used up; expression through shape and color was very familiar and had become meaningless. The process of flattening out the canvas had reached an end; Formalist painting has soaked color into the canvas and moved shape to the edge presenting an almost but not quite unbroken field. We no longer believed in the transcendency of paint and saw little reason to use the form of painting for making art. In the middle sixties surprise had been expressed that I was still using a brush. – Marcia Hafif, Beginning Again, Artforum, 1978

wfw weekend #427