HANS-PETER FELDMANN ' ART EXHIBITION'
MNCARS: until 02/28/1911
blame for this lies with the rack. So a boat soon, it seems the motto of a sticker at all a hundred. But reality, as always, is very different.
First things first, the art is moved by impulses ticos dialectic between the extremes are, firstly, the desired autonomy of the artistic sphere and, secondly, the decline in the rule of life . Thus, at every step, every historical moment, autonomy is achieved at the same time destroyed.
Thus, the history of art moving to the beat of failure. Because other by a p art, eliminate idealistic side of autonomy is in a phase of art-critical capacity in order not to Kant does not mean much less an evanescence of political and social implications, but rather to maintain their independence to occur only as the history of its concept, moreover, the recurrence saving identify and art world, rather than safeguarding the art, it aims to safeguard the lives of the prevailing understanding reification and art as the opening time will roll on and conquered more and more plots 'Life world' for funding.
Even with all the alleged acts dialectical movement almente line, but was made to blow temporalities deferred. Do not think, for example, be right Bürger proposing a historicism to explain but neovanguardias or Foster Danto to propose, first, a constant reinterpretation rise to different narratives, or the second , deferred action that addresses most psychic temporality.
However, the findings are quite similar. Returning the rack, if it is true that this gesture contemporary art acquired enough self-awareness to self-questioning with some credit, it is also true that the absence of the art world into an institution-art, ready-made ability to reveal ideology which supports the idea of \u200b\u200bart as an institution was profoundly impaired.
Duchamp found that, in short, the supposed autonomy of art is not such as everything is put in a question, ideological decision. So, your question would be "Is this art?". But this question is not questioned in depth and is able to demonstrate a new cyclical movement in the history of art and that even still in the 20's, there was, shall we say, against those who throw the stone.
Sea, therefore, that the movement of art cycloid po r historicist linearity (Bürger ), which is how reinterpretation of the strategies that always came too soon and that only when the art expands Field experiments fall within the art and are thus susceptible to reflection (Danto ), or that what happens is a differentiation the seasonality of art ( Foster), the truth is that art needs the movement of pseudopodia to recharge their potential and that the total capacity of self-questioning of art is not lost one iota of its value. Keeping
the problem of timing aside, the truth is that art moves to the beat of denial, with giant strides to expand its field of artistic practice for just then by desartización processes, self-questioning new limits transcend it. So, obviously, as Adorno argues , art seems to escape his fate to be the story of his concept of his own denial. Paradoxically? The solution we have at our disposal: the "il faut continuer" Adorno is critical here because the enemy of art is art itself.
. The work of Hans-Peter Feldman points to this exceed the time limits of neovanguardias. Their strategies are revived the ready-made, drive dynamite the file from within, and proceed to an explosion of identities high / low culture. All, at first glance, very poppy, but with an important philosophical.
If the autonomy of art is an eternal challenge of art against itself, if it has reached art itself, self-awareness enough to know that all give up in failure, the Feldman wisdom is knowing that the field is paid to hold true any practice. For if with Danto, art so that it occurs at the Warhol boxes Brightness points to an end due to the fact that art involves the existence of its own concept, this clearly points to a final end of narratives, a radical openness within the concept of art, that once, resulting in an extension of the autonomy of art almost without limits.
Cause this could be the Feldmann, quite rightly, tit ule all exhibitions with the theme ' An art exhibition'. And, when autonomy is completely filled with solar art, everything falls squarely on him and everything, obviously, in that race against himself, is against him. That is, for art, the time is fulfilled.
Feldmann So is the anti-artist par excellence, the mischievous hits the nail on the yaga of the autonomy of art in its soliviantez primed. Nothing out of their boxes to art because the art itself is the same out of their boxes. The art of celebrating Feldmann paradox, makes a mockery of many past strategies have been puzzled to shoot the bull's-eye without a miss.
its apparent lightness, his staging a little burlesque, refers to the time when the narrative has come to an end. Feldmann proceeds by accumulation and demolition, for emphasizing the appreciation of the fragmentary and quotation. As Benjamin said , "nothing to say, only show." Repetition is dislocated in the nonsense of doing rote redundant drive for the file. In profusion for collecting that involves showing the front pages of newspapers around the world on following the 11 / S, atrophy semiotics of repetition leads to boredom more banal, accumulation was unveiled as masochistic tactics which, of course, nothing is as expected without saying. Thus, Feldmann is revealed as an effective deconstructive his art is one that lets you talk just as, on balance, there is nothing to say.
Finally, Feldmann hunting has expanded over time to one of his best victims: 36 reels shot in one sequence, people aged between 0 and 100 years portrayed in a series of as many 100 photographs. The game ends when the time differences representation is annihilated, and, as stated by Omar Calabrese , "to represent the passage of time (pictured) is necessary to block the time of representation." That is, one or the other, but there is no possible mediation.
That art is to try to combine some form of mediation between the two is quite plausible, but that doing Feldmann referred to dynamite the fondness and, therefore justly be described as art is something that has not surprising. Over time, the representation and the represented, is exhausted and the work of the artist is to realize the only thing that remains to be seen, that not every story we better to go back to a new failure.
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