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izzy's playlists!
dirt enthusiast
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Kiana Khansmith
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Show & Tell
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Monterey Bay Aquarium

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Origami Around
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I'd rather be in outer space đ¸
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@thestrangergetsagift
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ÂżEs el destino del campo del arte ensimismarse en el reiterado deseo de perforar sus fronteras y desembocar en simples transgresiones de segundo grado que no cambian nada? Ni llevando el mundo al museo, ni saliendo del museo, ni vaciando el museo y la obra, ni desmaterializĂĄndola, ni omitiendo el nombre del autor, ni blasfemando y provocando la censura puede superarse el malestar que provoca esta oscilaciĂłn entre querer la autonomĂa y no poder trascenderla. Tal vez las respuestas a este interrogante no surjan del campo artĂstico, sino de lo que le estĂĄ ocurriendo al intersectarse con otros y volversepostautĂłnomo . Con esta palabra me refiero al proceso de las Ăşltimas dĂŠcadas en el cual aumentan los desplazamientos de las prĂĄcticas artĂsticas basadas en objetos a prĂĄcticas basadas en contextos hasta llegar a insertar las obras en medios de comunicaciĂłn, espacios urbanos, redes digitales y formas de participaciĂłn social donde parece diluirse la diferencia estĂŠtica . Muchas obras siguen exhibiĂŠndose en museos y bienales, son firmadas por artistas y algunas reciben premios de arte; pero los premios, museos y bienales comparten la difusiĂłn y la consagraciĂłn con las revistas de actualidad y la televisiĂłn. La firma, la nociĂłn de autor, queda subsumida en las emisiones de la publicidad, los medios y los colectivos no artĂsticos. MĂĄs que los esfuerzos de los artistas o de los crĂticos por perforar el caparazĂłn, son las nuevas ubicaciones dadas a lo que llamamos arte lo que estĂĄ arrancĂĄndolo de su experiencia paradĂłjica de encapsulamiento-transgresiĂłn. - NĂŠstor GarcĂa Canclini, "La sociedad sin relato"
ArtĂculo completo: http://www.lanacion.com.ar/1290944-el-arte-fuera-de-si
"Performance art is social research, relational practice, and political assembly. Performance artists are not creating luxury objects; they are working to create alternative social situations, actualizing social gatherings and actions."
Taken from: http://hyperallergic.com/74735/the-brooklyn-intl-performance-art-festival-is-the-best-thing-to-do-this-month/
But first of all, what is an object? Maybe an object is what serves a link between subjects, allowing us to live in society, to be together. But since social relations are always ambiguous, since my thoughts divide as much as unite, and my words unite by what they express and also isolate by what they omit, since a wide gulf separates my subjective certainty of myself from the objective truth others have of me, since I constantly end up guilty, even though I feel innocent, since every event changes my daily life, since I always fail to communicate, to understand, to love and be loved, and every failure deepens my solitude, since⌠Since. Since I cannot escape the objectivity crushing me, nor the subjectivity expelling me, since I cannot rise to a state of being nor collapse into nothingness, I have to listen, more than ever I have to look around me, at the world, my fellow creature, my brother. The world alone. Today when revolutions are impossible, and bloody wars loom, when capitalism is unsure of its rights and the working class is in retreat, when the lightning progress of science makes future centuries hauntingly present, when the future is more present than the present, when distant galaxies are on my doorstep. My fellow creature, my brother. Where do we start? But start what? God created heaven and earth, sure, but thatâs too easy. We should put it better. Say that the limits of language are the worldâs limits, that the limits of my language are my worldâs limits, and that when I speak, I limit the world, I finish it. And one inevitable and mysterious day, death will come and abolish these limits, and there will be no questions nor answers. It will all be a blur. But if by chance things come into focus again, it may only be with the advent of conscience. Everything will follow from there.
Jean Luc Godard, Two or Three Things I Know About Her (via heteroglossia)
Henrik Olesen
âEach particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations, and so on and so forth, ad infinitum.â â Nicolas Bourriaud, Relational Aesthetics
It is, however, obvious that the day of the New Man of the future-oriented manifestos and the calls for a better world âwith vacant possessionâ is well and truly gone: utopia is now experienced as a day to day subjectivity, in the real time of concrete and deliberately fragmentary experiments. The artwork now looks like a social interstice in which these experiences and these new âlife possibilitiesâ prove to be possible. Inventing new relations with our neighbours seems to be a matter of much greater urgency than âmaking tomorrows singâ.
Nicolas Bourriaud, âThe Subject of the Artworkâ, in âCritical and Curatorial Positionsâ, pg. 166âChapter on âRelational Aestheticsâ. 1998. (via nblausacp)
Art was intended to prepare and announce a future world: today it is modeling possible universes.
from Relational Aesthetics by Nicolas Bourriaud
(via damaliabrams)
Henri Pousseur cited by Umberto Eco in The Open Work,1962, taken from Claire Bishop's Participation (Whitechapel: Documents of Contemporary Art)
Jaques Rancière, "Problems and transformations in critical art" 2004, taken form Claire Bishop's PARTICIPATION (Whitechapel: Documents of Contemporary Art)
Randal Walser "ELEMENTS OF A CYBERSPACE PLAYHOUSE"