#altermodernism

[rafaelmc]

Grandes espacios abiertos, enormes espacios abiertos. ♻️#paris #france #altermodernism #avantgarde #naif #envolturas #bagpack (at Paris, France)

[grumpus138]

No Job for a Grown Man (part six) – in Explication of the Schizophrenic Age

No Job for a Grown Man (part six) – in Explication of the Schizophrenic Age

The Twenty-First Century has, since 2001, been bereft of landmark political or social moments.  The key word here is “landmark,” indicating a fixed point in time after which the ideological apparatus in place before the event can no longer function, such is the impact it has on society, economics and culture.  This is hardly surprising, since 9/11 shattered what was quite possibly the West’s last…

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[grumpus138]

No Job for a Grown Man (part two) - The Rhizome Meets the Assemblage

No Job for a Grown Man (part two) – The Rhizome Meets the Assemblage

Three-or-four years ago I had a conversation about a certain artist who, for a goodly percentage of the year, entirely shut himself (for I am fairly sure it was a “he”) off from art practice and instead did nothing other than absorb other culture.  When said artist (who, although I still can’t recall his identity, is by no means hypothetical) returned to art creation, his perspective had altered…

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[gabrielbutu]

Artists are looking for a new modernity that would be based on translation: What matters today is to translate the cultural values of cultural groups and to connect them to the world network. This “reloading process” of modernism according to the twenty-first-century issues could be called altermodernism, a movement connected to the creolisation of cultures and the fight for autonomy, but also the possibility of producing singularities in a more and more standardized world.

Nicolas Bourriaud

[theastralcity]

The Altermodern Manifesto

Postmodernism Is Dead.

A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture

Increased communication, travel and migration are affecting the way we live 

Our daily lives consist of journeys in a chaotic and teeming universe

Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture

This new universalism is based on translations, subtitling and generalised dubbing

Today’s art explores the bonds that text and image, time and space, weave between themselves

Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.

The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.

Travel, cultural exchanges and examination of history are not merely fashionable themes, but markers of a profound evolution in our vision of the world and our way of inhabiting it.

More generally, our globalised perception calls for new types of representation: our daily lives are played out against a more enormous backdrop than ever before, and  depend now on trans-national entities, short or long-distance journeys in a chaotic and teeming universe.

Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.

The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.

If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities.

We are entering the era of universal subtitling, of generalised dubbing. Today’s art explores the bonds that text and image weave between themselves. Artists traverse a cultural landscape saturated with signs, creating new pathways between multiple formats of expression and communication.

The artist becomes ‘homo viator’, the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing. This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations. The form of the work expresses a course, a wandering, rather than a fixed space-time.

Altermodern art is thus read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history. This gives rise to practices which might be referred to as ‘time-specific’, in response to the ‘site-specific’ work of the 1960s. Flight-lines, translation programmes and chains of heterogeneous elements articulate each other. Our universe becomes a territory all dimensions of which may be travelled both in time and space.

The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity.

Nicolas Bourriaud

[vanyaart-blog]

Altermodernism...

[mvbeeld]

Jew in a box

Sinds de Tweede Wereldoorlog wonen er niet veel joden meer in Duitsland. Met een aandeel van slechts 200.000 op de 82 miljoen inwoners van Duitsland zijn ze een serieuze minderheid geworden. Een nieuwe expositie, 'Jew in a box', wil de bevolking meer leren over joden, maar het blijft duidelijk een gevoelig thema. Zo spreekt een jood het publiek toe vanuit een glazen 'kooi' en dat zorgt voor gemengde reacties.

De glazen ruimte waarin de joodse man zit, stelt de vraag: "Zijn er nog joden in Duitsland?" Aangezien ze niet echt talrijk zijn, probeert de man in het museum de bezoekers wat meer te vertellen over zijn volk. Maar een joodse man in een soort kooi steken, is natuurlijk om gemengde reacties vragen. Zeker aangezien het om een museum in de Duitse hoofdstad Berlijn gaat, waar tot de nederlaag van Adolf Hitler in 1945 liefst zes miljoen joden om het leven zijn gebracht. "Waarom geven ze hem geen banaan en een glas water, of waarom zetten ze de verwarming niet hoger om het gezelliger te maken in zijn glazen doos?", zegt Stephan Kramer, een prominente figuur in de joodse gemeenschap van Berlijn. "Ze hebben me gevraagd of ik wou meewerken, maar ik zei hen dat ik niet beschikbaar ben."

[mvbeeld]

Altermodernisme: letterlijk: veranderd modernisme

- kunst die een nieuwe gemeenschappelijkheid uitdraagt en voortkomt uit een wereld die transnationaal, multicultureel, universeel en chaotisch is geworden

http://www.artcornwall.org/features/altermodernism.htm