DID ALL THAT WAS NOT ENOUGH
DARK HOUSE GALLERY: 04/02/1911 to 04/30/1911
Just looked and come epistemic collapse of the building on which rose the basic premises of modernity, and some-popes-advantaged ventured to leave settled the issue in terms of poetics of remembering the forgotten founding (Heidegger ) or a negative charge, inviting us supposedly forgotten horror ( Adorno ).
-stranded both reflections and the like-in dead ends, the thing had no choice but to blow up as a radical pluralism which they called Postmodernism. Coded it in a plurality of language games, forms of experimentation and heterogeneous life forms, the experience led to the founding of Postmodernism in the words of Wolfgang Welsch , "intransgressible right to forms of knowledge, life projects action models and different gradation degree ". Eclecticism
radical deconstruction fragmentation, are to be emphasized in a drain process where, and for instance, Charles Jencks seen as more specific feature of Postmodernism new hubris of "dissonant beauty" or "disharmonic harmony." Put another way: multivalency, deliberate equivocation, etc, and, with it, allegory, irony, cynicism, etc.. All in a totum revolutus that turned our world into a neo-baroque barrage.
In the limit, of course, Lyotard : "Finally it should be clear that what concerns us is not to provide true, but allusions to devise something that can not be rendered thinkable. " That is, the art of the Postmodernism refers always, as in the center away from its construction, empty places.
Reinterpreting the Kantian sublime as a scene of a separation between the founder and all representations sensible idea, postmodernism came too soon, says Rancière , "the great concert of mourning and repentance modernitario thought." That is, the party did not last long: the exaltation carnival drills quickly became self-questioning of his own freedom. Everything then becomes primal scene and separation sublime Lyotard summarizes all kinds of scenes original sin and separation.
If modernity fate then became founding because of forgetfulness, the Heideggerian danger esenciante of art, postmodernism has come to put a name to the nameless and "postmodernism" has become so again Rancière - in the great train of the unrepresentable / intractable / irredeemable, which denounces the madness of the modern idea of \u200b\u200bself-emancipation of the humanity of man and its inevitable and endless finishing in the death camps. " While
and the thing that keeps a glimpse into the current art scene is a kind of weariness orthopedic much suffering, so much squinting sinful load is still, to put by-case flight Heidegger of the gods, the irreducible insimboliante Freudian object and the death drive, or the voice of quite another to pronounce the prohibition of representation. And, ultimately, we feel so lonely that even so we're screaming for claudication.
What to do after journey through the desolate wasteland of post-modernity? The I surmised as surface effect of plate tectonics penitents, is at the expense of so many fragrances libidinal fetish is hardly a trace in his own dissatisfaction. Obviously, it seems, positions such as aesthetics of existence Foucault are no longer possible ...
But the paradox lives in the (im) possibility: "everything we did was not enough," title of the exhibition, we invited to renew the failure of the past reluctant to give two opportunities but which has opened the aesthetic distance required to refresh the possibility. Try back for, as Beckett would say , fail again, fail better. But try. Do not give closed the story, not to declare our intentions wavered, not satisfied with the esthetics of life proposed by the show, but reopening the suture sealing thought and action through the mediation of another target.
and not proposing alternatives to the hegemonic narrative, not to mock aestheticized opposing realities, not encrypting to subversive art and political and per se. But allowing a temporary slip differential, a difference in the effects of a project from the past to a future blushing reopened utopia.
In this sense, the overall package of works selected for exhibition, curated by Tim Howard - have in common the opening of the narrative to the openness of the non-given in advance, and a voltage connected, as noted above, different tempos to-achieved in all cases, to reconfigure a space-time reallocation. Collective and individual action and reflection, representation and identity, etc, are previously settled in the open configuration of another possibility.
Ultimately, this exhibition is precisely inserted and exemplary aesthetic within the channels trying to foreshadow the stage for a final insult: if, as said Konrad P. Liessmann is no doubt that we should always be aware of that, after the postmodern play of forms and colors, sometimes breaking into a nostalgia triggered by the real life with shocking brutality was imposed as a vindication of their own, "hopefully not left alone in nostalgia and art-exhibitions like this one in particular-would dare to operate a new cut in the scheme as possible and as experienced.
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