Stephen Prina

27 November 2017 - exhibition, hyperlink, text - Comments Off on Stephen Prina

wfw weekend #437

26 November 2017 - exhibition, features, weekend - Comments Off on wfw weekend #437

wfw weekend #436

26 November 2017 - exhibition, features, weekend - Comments Off on wfw weekend #436

Roman Ondak. The Day Before Now

21 November 2017 - exhibition - Comments Off on Roman Ondak. The Day Before Now

Let’s put it this way: I have little interest in the position of autonomous authorship that I obviously inhabit, and I have absolutely no interest in making it the subject matter of my writing or even present it as something special. So when I’ve written something that, in the process of writing, I believe I’ve never read anywhere else before, I tend to try and find a section that says the same thing before I did. Then I replace my so-called “own” with the so-called “other”. To me it is more important to place myself within a network of thinking and thought-paths rather than trail after the old-fashioned chimaera called ‘artist’ that propounds one has produced something unique and new. Which means that I prefer the quoted text to “my own” but I make a bow towards the sources by stating more than once where they do come from. The quoted idea may come up again about 40 pages later, this time without any hint towards the source, but that’s because I rely on the readers to notice “Ah, here we’ve got someone like Hubert Fichte or Jack Smith again. But they were introduced some time before.” I do not really use quotation marks. Simply because I do not believe in the enclosed autonomy of the Other. I regard that as open as anything else. That’s why I follow a form of writing that was propagated by feminists such as Hélène Cixous, who describes feminine text as openly accessible from the top and the bottom, from both sides, from the front and the back. – Direction Artiste – Appendix – A Conversation with Thomas Meinecke, David Lieske at Lovaas Munich, November 16, 2017 – December 16, 2017

19 November 2017 - exhibition, hyperlink, text - Comments Off on Let’s put it this way: I have little interest in the position of autonomous authorship that I obviously inhabit, and I have absolutely no interest in making it the subject matter of my writing or even present it as something special. So when I’ve written something that, in the process of writing, I believe I’ve never read anywhere else before, I tend to try and find a section that says the same thing before I did. Then I replace my so-called “own” with the so-called “other”. To me it is more important to place myself within a network of thinking and thought-paths rather than trail after the old-fashioned chimaera called ‘artist’ that propounds one has produced something unique and new. Which means that I prefer the quoted text to “my own” but I make a bow towards the sources by stating more than once where they do come from. The quoted idea may come up again about 40 pages later, this time without any hint towards the source, but that’s because I rely on the readers to notice “Ah, here we’ve got someone like Hubert Fichte or Jack Smith again. But they were introduced some time before.” I do not really use quotation marks. Simply because I do not believe in the enclosed autonomy of the Other. I regard that as open as anything else. That’s why I follow a form of writing that was propagated by feminists such as Hélène Cixous, who describes feminine text as openly accessible from the top and the bottom, from both sides, from the front and the back. – Direction Artiste – Appendix – A Conversation with Thomas Meinecke, David Lieske at Lovaas Munich, November 16, 2017 – December 16, 2017

Alan Schmalz. Appareils de Récréation

14 November 2017 - art, exhibition - Comments Off on Alan Schmalz. Appareils de Récréation

Michael E. Smith at KOW, Berlin, September 16 – November 12, 2017 via Contemporary Art Daily

11 November 2017 - exhibition, hyperlink - Comments Off on Michael E. Smith at KOW, Berlin, September 16 – November 12, 2017 via Contemporary Art Daily

Jørgen Leth. The Perfect Human

8 November 2017 - art, video - Comments Off on Jørgen Leth. The Perfect Human

wfw weekend #435

5 November 2017 - exhibition, features, weekend - Comments Off on wfw weekend #435

wfw weekend #434

5 November 2017 - exhibition, features, weekend - Comments Off on wfw weekend #434

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

3 November 2017 - art, text, web - Comments Off on 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

3 November 2017 - art, hyperlink, web - Comments Off on Art & Politics: Alfredo Jaar, Frieze Talks, October 8, 2017