not

An elite group of no more than 10-20 collectors have begun over the past 3-4 years to visit art fairs abroad, acquire works by international artists and attempt to position their collection beyond national borders.
Especially in recent years, as the real estate and the stock exchange boom had stopped, many turned to contemporary art for short-term or long-term investment. Quite a few of these buyers prefer direct contact to artists, making bulk purchases at heavy discounts in the studio. Aware of the risks of siding with contemporary art, they diversify their selections, and acquire groups of works that are difficult to bring on common denominator within a harmonious collection, yet guarantee a balanced future. [..] Strictly speaking these acquisitions make up no collections (if the latter is understood as a coherent entity), yet may become one by slimming down.
Lawyers and brokers, media figures and top managers seem to share a strong penchant for getting to know the person whose works they collect and for establishing a contact they often deem “friendly”. In my experience the artists share this “friendship” less enthusiastically, yet play the role happily for obvious reasons. [..] [Collectors] build up a network of artist acquaintances parallel to their private and business relations, and often spend increasing amounts of time in this new niche of their life. Collecting in this role is a medicine for the thirst of new human relations, often (seemingly) less rational than the world of business, and less conventional than the family circle. Without stretching the point, one may say that quite a few actors of the scene collect friends rather than art.
In the Western world normally unthinkable due to excessive prices, several Hungarian collectors have been able over the past two decades to amass Hungarian works spanning the whole of the 20th century.
In terms of media, painting predominates. Other traditional forms (graphics, sculpture) are much less popular, but their position is improving. Photography, new media, installation, object art, other ephemeral, site-specific, and mixed media works are still lagging behind, but likewise spreading. In recent years, the elite layer of collectors has definitely realised the importance of diversifying the media they collect.
The influence of galleries on collectors is also on the rise. In the first phase following the fall of the Wall, collectors were – for reasons lying at hand – very individualistic, often secretive in their approach, as well as financially stronger and faster than the young galleries. Most collectors were unwilling to pay a “gallery price”, and we can still find artists and buyers negotiating in a double prices system (where atelier prices grossly undercut the gallery price level), yet this is now receding.
Some collections tell immediately, at first look the decisive impact of the gallery standing behind them, while in other cases the collector retains the right of selection stronger, yet accepts the dictate of the market: purchases have to be carried out increasingly by way of a gallery. This motivates more and more artists to ally with galleries, which, in turn, forces a growing circle of collectors to frequent the galleries and art dealers. The system of collecting becomes more and more institutional in Hungary.
The sales made at the fair could just as well take place in the galleries at some other time; the fair exerts no clearly identifiable impact on collecting. International fairs, in contrast, have a rapidly growing effect on the Hungarian scene.
A surprisingly large number of new galleries (launched since 2000) have been quite successful in building up their clientele, and luring away buyers from senior galleries. Non-profit galleries have an increasingly important say in the game. As collectors become experienced, they realise that curators working at these institutions, and artists exhibiting there, often have prophetic power. What appears as a peripheral new phenomenon in the arts scene, perhaps in one of the non-profit “gate-keeper galleries”, may within a year or two have ascended to higher status.
Among the museums, the Ludwig Museum in Budapest takes a central position, yet its co-operation with collectors is brand new and still fairly weak, rather symbolic. Both the previous (founding) and the current director can be judged as mistrustful of private engagement in art, although in the past year or two there have been gestures of familiarising between the museum administration and private collectors. [..] Neither the Hungarian National Gallery nor the Municipal Gallery (the two other important public collections of modern and contemporary art in the capital) can boast closer ties with collectors. To put it bluntly, most collectors do not even know that both of these museums have a permanent exhibition of post-World War II art, and that their collections include some seminal works. In return, most curators and chief administrators working at these (and other) museums in Hungary are prone to similar ignorance.
Art magazines seldom provide food for thought to private collectors.
Although many [collectors] increasingly fear the “three evils” of publicity – the tax office, burglary and public envy – there is still regular coverage of art collecting by a few specialised art writers.
With a few exceptions (such as the Kassák Museum), larger public institutions rarely show private collections. For the Ludwig Museum, showing a private collection is entirely out of question. True, the international scope of this museum’s own collection has no peer among the private holdings in the country (with the sole exception of the Somlói–Spengler Collection, which attempts to catch up with international trends of collecting).
Over one hundred private collections of contemporary art in Hungary.
Collectors increasingly get to know each other. Recently a communication agency has set up a platform for their regular meetings, as well as a webs-site for interaction, while a few collectors go further and jointly fund art prizes, visits abroad and, vice versa, invitations of international art experts to Hungary.
Among the company collections, that of Raiffeisen Bank is the most solid, while among he company-funded prizes Strabag Award dominated the scene for over a decade, with the brand new Aviva Prize now poised for taking it over. In most corporate projects, however, the domination of the marketing aims can not be overlooked.
As elsewhere in the world, artists themselves are avid collectors in Hungary. Some of these collections (e.g. that of László Fehér, Tamás Konok, István Haraszty, Ákos Matzon) have become known through numerous exhibitions, yet there are dozens more. Most artists build their holdings by way of exchange, and this opens the way to international works, too, that would otherwise be difficult to obtain. A few artists (for instance Imre Bak) became known for that as early as in the 1970s, with museums borrowing foreign works from them; and it still holds that artist collectors are at the forefront of international collecting in the country.
Spurred by Dóra Maurer, the Open Structures Art Society (whose members range from István Nádler to Katalin Hetey) regularly stages exhibitions both in Hungary and abroad, based on their joint collection and documentation archive, which is an outstanding testimony of geometric creation in Hungary and the world over the past decades.
The Mobile MADI Museum is the collection of a group of artists.
The private holdings of Lóránd Hegyi or the late Éva Körner and Ottó Mezei are examples of collections put together by art historians, and the list goes on.
Those Hungarian artists who do have some recognition abroad (typically neo-conceptual mid-career figures, such as Róza El-Hassan, Attila Csörgő, or the Kis Varsó duo) are under-represented in Hungarian collections. In contrast, the most sought-after local artists (e.g. Imre Bukta, László feLugossy) have limited reference abroad.
!! Among the collectors, only those have a chance of making a name abroad who mix Hungarian positions with international art. Some of these people live abroad (e.g. Gábor Hunya in Vienna, András Szöllősi-Nagy in Paris), while recently a few businessmen based in Hungary have also begun buying internationally (e.g. László Gerő, Ferenc Karvalits, Béla Horváth). The taste of this narrow elite is similar to the choices of new collectors elsewhere in Eastern Europe: they try to lift their respective local artists onto a higher echelon of international recognition by buying blue-chip foreign artists from respected galleries.

the picture (c. 1916-1917) shows Duchamp “exhausted after an evening that likely involved some form of excessive consumption”;

he recalls Duchamp’s artist-friend (and, before he went to the front, fellow expatri-

ate) Albert Gleizes’s criticism of Duchamp for such habits, and Duchamp’s response:

“if I didn’t drink so much alcohol, I would have committed suicide long ago!”

+

Dreier’s deeply repressed sexual fantasizing and frustration in relation to Duchamp.

Duchamp was highly seductive to the women of the New York Dada circle and frustratingly un-

available to most of them, in particular Dreier.

While she gave him money to support him, this older German woman was clearly not Duchamp’s type.

Their personal correspondence shows a frustrated sexuality turned maternalism on Dreier’s

part, a polite and gentle distance maintained on Duchamp’s.

+

Duchamp liked to proclaim that he

considered himself an engineer rather than an artist.46 The gesture of the readymades

highlighted his confusion of the boundaries between engineering (the making of

machines) and art, but this gesture is also tinged with what we might call a machine-

age primitivism.

+

Léger in the 1950s told the story of going, before World War I, to an airplane exhibi-

tion with Duchamp and Brancusi: “Marcel . . . walked around the motors and pro-

pellers without saying a word. Suddenly he turned to Brancusi: ‘Painting has come to

an end. Who can do anything better than this propeller? Can you?’ ”

+

his readymade gesture thus explicitly reverses the dynamic at play in the

Ford system: while the assembly line functions specifically to take the individual prod-

uct away from the individual worker (in what Marx noted to be an alienation of the

laborer from his products), Duchamp’s gesture is to return individuality to the massproduced object

/ ??? return individuality to… ? dnes: massproduced object: affection, relations, life

/ back to individual life (toho je plne contemp art), aj ostatne veci, toho je vela… to je malo.

/ vtedajsia machine je dnes internet/softver

z Kostelanetz, Richard – Conversing With Cage, 2nd ed (2003)

cage, 83
I’m on the side of keeping things mysterious, and I have never enjoyed
understanding things. If I understand something, I have no further use for it. So I try to make a
music which I don’t understand and which will be difficult for other people to understand, too.

cage, 85
I like art to remain mysterious. I find that as long as a book or a painting or a piece of music is
not understood by me that I can use it. I mean use it in order to employ my faculties. If I
understand something I can put it on a shelf and leave it there. In the past I thought it had to do
with the feeling in Europe of a tradition or the history, whereas we here in America have very
little sense of history.

!!! cage, 72
I have from time to time, either for myself or for others, made statements that are like manifestos.
You know this is popular in the field of the arts—to say in a manifesto-style statement what
distinguishes the contemporary or modern thing from what isn’t. The first time I was asked to do
it, I did it with regard to painting.
I said that a painting was modern if it was not interrupted by
the effect of its environment—so that if shadows or spots or so forth fell on a painting and spoilt
it, then it was not a modern painting, but if they fell on it and, so to speak, were fluent with it,
then it was a modern painting.
Then, of course, I have said the same thing about music. If the music can accept ambient sounds
and not be interrupted thereby, it’s a modern piece of music. If, as with a composition of
Beethoven, a baby crying, or someone in the audience coughing, interrupts the music, then we
know that it isn’t modern. I think that the present way of deciding whether something is useful as
art is to ask whether it is interrupted by the actions of others, or whether it is fluent with the
actions of others.
What I have been saying is an extension of these notions out of the field of the
material of the arts into what you might call the material of society. If, for instance, you made a
structure of society that would be interrupted by the actions of people who were not in it, then it
would not be the proper structure.
^ aliens, my art, open work, participative, ….theory building

cage, 77
I think the history of art is simply a history of getting rid of the ugly by entering into it, and using
it. After all, the notion of something outside of us being ugly is not outside of us but inside of us.
And that’s why I keep reiterating that we’re working with our minds. What we’re trying to do is
to get them open so that we don’t see things as being ugly, or beautiful, but we see them just as
they are.

cage, 66
Formerly, one was accustomed to thinking of art as something better organized than life that
could be used as an escape from life. The changes that have taken place in this century, however,
are such that art is not an escape from life, but rather an introduction to it.

cage, 1978 – on improvised jazz
Aside from the question of rhythmic regularity, one of the reasons for my reticence regarding
jazz has to do with its conception and use of improvisation. This matter of improvisation has
always greatly concerned me. What I have never appreciated in improvisation is the return to
memory or to taste: the return of things that have been learned or to which one has become
accustomed—sometimes consciously, deliberately, sometimes insidiously. Phrases thought to be
original are only articulations heard a long time ago. In improvisation, when you think you are
following your own direction, most of the time you are following someone else’s line. At the
most, that is not what bothers me so much as the desire for uniqueness that appears in the act of
improvising. Once you realize the number of obstacles and of more or less deliberate references
that the improviser is struggling with, you can only smile at the claim to originality. The desire
for originality seems to be one of the great myths of jazz (and of a good part of contemporary
music in the classic tradition as well, for that matter). And it seems that not even “free jazz”
escapes this. I am bothered by these disproportionate assertions of the ego when I hear them. For
my own part, I do not look for originality. Whether or not my music is original does not concern
me. I would prefer to find a music separate from my memory and my tastes, which would in
some way be a discovery for me, and that has nothing to do with originality, because intention is
not involved. (Originality is always an effort, a state of tension. ) With an open-mindedness
toward the unintentional sound, I want not to control sound events but simply at most to write
instructions. That is why I’m against improvisation as it is usually understood (even if I
sometimes use it, because nothing should be prohibited!). [..]
The problem that jazz raises for me, at the level of rhythm, I repeat, is that I am bothered by its
regularity. I prefer the rhythm of what I call silence where sound can be born at any time.

cage, 1979 – silence & there’s always sound
I made a decision in the early fifties to accept the sounds that are in the world. Before that I had
actually been naive enough to think there was such a thing as silence. But I went into an
anechoic chamber in Cambridge, at Harvard University, and in this room I heard two sounds. I
thought there was something wrong with the room, and I told the engineer that there were two
sounds. He said describe them, and I did. “Well, ” he said, “the high one was your nervous
system in operation and the low one was your blood circulating. ” So that means that there is
music, or there is sound, whether I intend it or not.

cage, 1979 – silence & composing
What silence is is the change of my mind. It’s an acceptance of the sounds that exist rather than a
desire to choose and impose one’s own music. That has been at the center of my work ever since
then. I try when I make a new piece of music to make it in such a way that it doesn’t essentially
disturb the silence which already exists.

They comprise the ultimate YouTube playlist: a selection of the most unique, innovative, groundbreaking video work being created and distributed online during the past two years.

12:21 < barak> pash u googenheima http://www.youtube.com/watch?v=NmPKT4qTrQY
12:24 < ach> barak: tie posledne dve su super
12:30 < ach> barak:
http://www.youtube.com/watch?v=0DVN4m41QCE&feature=player_embedded#! super
komentare od cechov :)
12:34 < pht_> j tak to uz len otazka casu kym dostane ‘best new track’ na
spomalene shangaan electro
12:35 < pht_> hajpa hajpa
12:39 < barak> milos vojtechovsky: dobre, i kdyz ta guggenheimova soutez vypada
jako uplna kravina, jak se prave ujistuji
12:48 < ach> barak: samotne su tie videa fajn, len nerozumiem o co presne im
ide :)
12:51 < barak> videam alebo organizatorom akcie?
12:52 < ach> organizatorom
12:52 < barak> hierarchizovat horizontalny obsah
12:52 < barak> via modernisticka idea umenia
12:53 < barak> ako vrcholu spolocenskej aktivity
12:54 < barak> a vyberom youtube platformy legitimizovat svoje biele steny pre
21. storocie )
12:55 < ach> palo ti dal preprint svojho clanku na tuto temu?
12:55 < barak> vsetky tri strany (umelci, youtube aj guggenheim) maju myslim
celkom lahko citatelne dovody..
12:55 < barak> pise? nedal, vsak daj
12:55 < ach> pardon, to bol zart!
12:55 < barak> aha haha
12:55 < barak> ci co sa da ine o tom mysliet?
12:56 < ach> neviem, mozme skusit alternativnu interpretaciu podla toho kto je
v porote
12:57 < ach> laurie anderson a animal collective si hladaju novych reziserov
pre videoklipy
12:57 < ach> aronofsky potrebuje kameramana
12:57 < barak> v porote nejake nezname mena vyznamnych kuratorov
12:58 < barak> to by nesli cez guggenheim

seven plus or minus two (miller)

“What most experimenters take for granted before they begin their experiments is infinitely more interesting than any results to which their experiments lead” (norbert wiener)

“To live effectively is to live with adequate information.” (norbert wiener)

Progress imposes not only new possibilities for the future but new restrictions (norbert wiener)

we stand in relation to the world as in a mirror that does not tell us how the world is (varela)

the fact that we can coordinate our own sense data into recurrent structures can never prove that these structures are ontologically real
(Ernst von Glasersfeld)

Break the pattern which connects the items of learning, and you necessarily destroy all quality (Gregory Bateson)

some sort of self-fulfilment, occurs in all organisations and human cultures (Gregory Bateson)

A living system, due to its circular organization, is an inductive system and functions always in a predictive manner; what occurred once will occur again. Its organization (both genetic and otherwise) is conservative and repeats only that which works (Humberto Maturana)

disagreements can only be solved by entering a domain of co-inspiration, in which things are done together because the participants want to do them
(humberto maturana)

the self resides in no place at all, but merely manifests itself in the continuity of our acts of differentiating and relating and in the intuitive certainty we have that our experience is truly ours (Ernst von Glasersfeld)

I would be inclined to argue that all of us would be better off if we set out to be something other than what we are (george kelly)

Anyone who attempts to generate random numbers by deterministic means is, of course, living in a state of sin.
John von Neumann

There’s no sense in being precise when you don’t even know what you’re talking about.
John von Neumann

The lie has long since lost its honest function of misrepresenting reality. adorno

“for machines that deal with people rather than people that deal with machines!” (mxhz.org)

“everything that can be marketed will eventually vanish” (mxhz.org)

Cremaster is a medical name for the muscles that raise and lower the testicles,
depending on the temperature.

We have undescended testicles (semennik), which, in the course of fetal (plod) growth,
eventually drop, but not before the fetus swims in a presumably blissful sea
of gender ambivalence.

We have Celtic legends and chorines and tests of physical strength (mostly for Mr. Barney
himself, as his own star)

and Harry Houdini and Gary Gilmore and Mormon and Masonic signs and rituals.

letting the imagery captivate you on its own, preverbal terms

4
the tap-dancing man-beast and androgynous “Faeries” and motorcycle racers with what
Ms. Spector calls “gelatinous gonadal forms” oozing from their pockets in “4”
—
In “Cremaster 4,” the earlier of the two, the artist plays a redheaded satyr
in a white suit who is slavishly attended by three androgynous “faeries” as he
tap-dances around a hole at the end of a pier, eventually slipping through it
into the water. From under the sea, he makes his way back to the land through
a white viscous tunnel made of a mysterious substance that suggests paste,
sperm and blubbery animal innards.
–
The scenes of his descent and re-emergence are intercut with a contest on the
Isle of Man between two racing-car teams speeding in opposite directions around
the island. When one of the cars stops for a tire change, the faeries futilely
attempt to replace an ordinary tire with one equipped with testicles. The final
image is an enigmatic logo viewed through a pair of spread legs while bagpipes
play on the soundtrack.
—
“Cremaster 4” suggests sperm frantically competing to fertilize a female egg,

1
sleek (ulizana) elegance of the dirigible stewardesses in “1”
—
On each of two nearly identical Goodyear blimps, four female flight attendants
monitor a table whose centerpiece is a bunch of grapes (green on one
aircraft, red on the other) that surround a vaguely phallic sculpture.
Underneath each table a weirdly angelic woman surreptitiously pulls the grapes
through a hole in the table and arranges them into pretty formations.
–
Meanwhile, on the ground below, an elaborate ceremony unfolds across a football
field covered with bright blue Astroturf. As a bland beauty-pageant musical
theme is repeated over and over, a corps of smiling air hostesses attired in
double hoop skirts (designed by Isaac Mizrahi) and holding blue balloons repeat
the same formations arranged by the woman under the tables, in choreography
worthy of an Esther Williams extravaganza. At the end of the film, the woman
under the table magically appears on the field and skips across the Astroturf,
pulling the two blimps on ropes behind her.
—
the egg and its welcoming committee: the yang and yin of the biological equation

5
the Budapest Opera House and dappled Asian water sprites and the amazing image of
Mr. Barney’s descended testicles attached to ribbons borne by fluttering doves, from “5.”

2
the dazzling desert and ice landscapes and bizarre Gary Gilmore enactments (although
as an actor Norman Mailer is no Richard Serra) in “2”

3
the Houdini zombie and demolition derby, the racetrack of rotting horses,
the Chrysler Building and the Guggenheim itself, the dueling Celtic giants and
the extraordinary Aimee Mullins as the Cheetah Woman, all in “3”;
Richard Serra, playing Hirma Biff or the evil Architect in “3” as an Oedipal father figure

2005 TOP 10
1. Damien Hirst, artist, Uk
2. Larry Gagosian, dealer/ gallerist US
3. Francois Pinault, owner of Christie?s /collector, France
4. Sir Nicholas Serota, Tate director, Uk
5. Glenn D Lowry MoMA director, US
6. Eli Broad, collector/philanthropist, US-LA
7. Sam Keller, Art Basel director, Switzerland
8. Iwan Wirth, dealer/gallerist, Hayser and Wirth, Switzerland
9. Bruce Nauman, artist US
10. David Zwirner, dealer/gallerist, US

damien hirst
artist, born 65 in Bristol, 2 men I ge, father car salesman, school in Leeds, works for 2yrs at building sites, 89 art degree at Goldsmiths College London, worked in mortuary during studies, 88 curates student exhib Freeze in E London attended by Saatchi, Rosenthal and Serota, 92 shark at yBa exhib, 92 Saatchi offers him to fund whatever artwork he wants to make, regular Soho’s Groucho Club visitor, early 90s – 02 cocaine and alcohol addict, banned from Groucho, marries Californian Maia Norman (now 2 kids), 95 Turner Prize, 98 opens restaurant Pharmacy in Notting Hill, 98 records a World Cup tribute pop single Vandaloo with Fat Les (w/ actor Keith Allen and Blur bassist Alex James) and reaches #2 in charts, 98 publish autobiography "I Want To Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now", 00 100.000 people visits his show at Gagosian in 12 weeks and all the works are sold, since 00 spends most time at remote farmhouse in north Devon, 03 good friend Joe Strummer (ex bass of The Clash) dies, founds Strummerville charity to help young musicians, 03 after retrospective at Saatchi’s: "I’m not Charles Saatchi’s barrel-organ monkey … He only recognises art with his wallet … he believes he can affect art values with buying power, and he still believes he can do it.", intr in Christianity, 03 Pharmacy closes down, 04 in fire at Saatchi’s 17 Hirst’s artworks are destroyed, 04 new agent: Gagosian, 04 solds shark for $12mil to Steve Cohen who then donates it to MoMA (Serota tried to acquire it to Tate and also gov was asked to fund)
http://www.channel4.com/culture/microsites/H/hirst/

larry gagosian
art dealer and gallerist, aka GoGo, born in LA, opened largest private gallery in London 04, Gagosian Gallery *96 has 5 branches (2x Manhattan, 1x Beverly Hills, 2x London), ArtReview’s top art businessman since 04, in 03 US gov took lawsuit against him for taxes
http://www.gagosian.com/

francois pinault
born 37
http://en.wikipedia.org/wiki/Fran%C3%A7ois_Pinault

nicholas serota
dir of Tate, curator, born 46, 7 cauac I ta, son of labour edu minister, studied economics, then history of art, 73 marries ballet dancer Angela Beveridge, 88- Tate Gallery director, 97 marries head of Tate’s info dept Teresa Gleadowe (affair since late 80s)
http://www.answers.com/topic/nicholas-serota

glenn d lowry
dir of MoMA in NYC, born 54 in NYC

eli broad
born 33, 8 ix II ge

sam keller
dir of Art Basel

(left)
iwan wirth

bruce nauman
born 41, 4 caban I sa

david zwirner

– till early 60s: disciplinary Fordist regime; politics of identity reigned in subjectivity; rejection of a resonant body;
– then crisis – cultural movements called for “l’imagination au pouvoir”
– new: * flexible subjectivity; “counter-culture”; radical experimentation with modes of existence and cultural creation which shattered the “bourgeois” lifestyle at its politics of desire, with its logic of identity, its relation to otherness and its culture;
– today: we all now have available a flexible and processual subjectivity as instituted by the counter-cultural movements; In the present, the most common destiny of flexible subjectivity and of the freedom of creation that accompanies it is not the invention of forms of expression motivated by an attention to sensations that signal the effects of the other’s existence within our resonant body. What guides us in this creation of territories for our post-Fordist flexibility is an almost hypnotic identification with the images of the world broadcast by advertising and mass culture.
+
By offering ready-made territories to subjectivities rendered fragile by deterritorialization, these images tend to soothe their unrest, thus contributing to the deafness of their resonant body, and therefore to its invulnerability to the affects of the time that are presented within it. But that may not be the most deadly aspect of this politics of subjectivation, which instead is the very message that such images invariably convey, independently of their style or their target-public. At stake here is the idea that there exist paradises, that these are now in this world and not beyond it, and above all, that certain people have the privilege of inhabiting them. What is more, such images transmit the illusion that we could be one of these VIPs, if we simply invested all our vital energy – our desire, affect, knowledge, intellect, eroticism, imagination, action, etc. – in order to actualize these virtual worlds of signs in our own existence, through the consumption of the objects and services they propose to us.

What we are faced with here is a new élan for the idea of paradise developed by Judeo-Christian religions: the mirage of a smoothed-over, stable life under perfect control. This kind of hallucination has its origin in the refusal of one’s vulnerability to the other and to the deterritorrializing turbulence that he or she provokes; and also in the disdain for fragility that necessarily derives from such an experience. This fragility is nonetheless essential because it indicates the crisis of a certain diagram of sensibility, its modes of expression, its cartographies of meaning. By disdaining fragility, it does not call up the desire for creation anymore; instead it provokes a sentiment of humiliation and shame whose result is the blockage of the vital process. In other words, what the Western idea of a promised paradise amounts to is a refusal of life in its immanent nature as an impulse to continuous processes of creation and differentiation. In its terrestrial version, capital has replaced God in his function as keeper of the promise, and the virtue that makes us worthy of it now becomes consumption: this is what constitutes the fundamental myth of advanced capitalism. In such a context, it is at the very least mistaken to consider that we lack myths today: it is precisely through our belief in this religious myth of neoliberalism, that the image-worlds produced by this regime turn into concrete reality in our own existence.

This kind of pimping of the creative force is what has been transforming the planet into a gigantic marketplace, expanding at an exponential rate, either by including its inhabitants as hyperactive zombies or by excluding them as human trash.

The seducer conjures up a spellbinding idealization that leads the seduced to identify with the seducer and submit to him: that is to say, to identify with and submit to the aggressor, impelled by an inner desire, in hopes of being recognized and admitted into the seducer’s world.

even greater in the countries of Latin America and Eastern Europe which, like Brazil, were under totalitarian regimes at the moment when financial capitalism took hold. Let us not forget that the “democratic opening” of these countries, which took place during the 1980s, was partially due to the advent of the post-Fordist regime, whose flexibility could only encounter the rigidity of the totalitarian systems as an obstacle.

If we approach the totalitarian regimes not by their visible or macropolitical side, but instead by their invisible or micropolitical side, we can see that what characterizes such regimes is the pathological rigidity of the identity principle. This holds for totalitarianisms of the Right and the Left, since from the viewpoint of the politics of subjectivation such regimes are not so different.

For them, such a threshold does not summon up an urgency to create, but on the contrary, to preserve the established order at any price. Destructively conservative, the totalitarian states go much further than a simple scorn or censorship of the expressions of the resonant body: they obstinately seek to disqualify and humiliate them, to the point where the force of creation, of which such expressions are the product, is so marked by the trauma of this vital terrorism that it finally blocks itself off, and is thereby reduced to silence

It is not hard to imagine that the meeting of these two regimes makes up a scenario even more vulnerable to the abuses of pimping: in its penetration to totalitarian contexts, cultural capitalism took advantage of the experimental past which was exceptionally audacious and singular in many of those countries; but above all, it took advantage of the wounds inflicted on the forces of creation by the blows they had suffered. The new regime presented itself not only as the system that could welcome and institutionalize the principle of the production of subjectivity and culture by the movements of the 1960s and 70s, as had been the case in the United States and in the countries of Western Europe. In the countries under dictatorships it gained an extra power of seduction: its apparent condition as a savior come to liberate the energy of creation from its bonds, to cure it of its debilitated state, allowing it to reactivate and manifest itself again.

[7:50:02 PM] babutka: mam novy terminus technikus “problém ruky do ohňa”.)
[7:50:12 PM] babutka: v suvislosti s mtp of kors
[7:50:23 PM] babutka: alebo ruky v ohni
[7:50:58 PM] dusanson: problem?
[7:51:08 PM] babutka: hej akoze problematika
[7:51:21 PM] babutka: akoze za ake veci v programe by sme dali alebo nedali ruku do ohna
[7:51:56 PM] babutka: no sak to len tak,to su tie diskutabilne zapojene oneho alebo nestihacky odsledovat
[7:53:49 PM] dusanson: vies co teraz jak uplne totalne vypukol ten youtube a tak, tak take ze ‘kvalita’, to uz je skor nadavka )
[7:53:59 PM] babutka: :)
[7:54:32 PM] babutka: ma pojem kvalita jeste co rict?
[7:54:40 PM] dusanson: ani ne
[7:54:52 PM] babutka: tak ale co potom
[7:54:57 PM] dusanson: coby
[7:55:04 PM] dusanson: ide sa dalej
[7:55:16 PM] babutka: ako to myslis teraz?
[7:55:19 PM] dusanson: neviem
[7:55:28 PM] babutka: uz som sa zlakla
[7:55:33 PM] dusanson: jak to
[7:55:43 PM] babutka: preco pises cesky?
[7:55:52 PM] babutka: dneska mi moja kolegyna zacala pisat slovensky
[7:55:56 PM] dusanson: mozebyt
[7:56:04 PM] babutka: tak dneska je nejaky jazykovy obrat
[7:56:21 PM] dusanson: ked hovorim cesky na michala, tak mi vravi ze som postihnuty

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rozhovor so Chto delat @Sesit 1

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For then, the audiences will feel increasingly concerned with such questions as “What mechanisms or technical procedure produced that expression?” and “Why did that expression have such an effect upon me, my minds, and my emotion?” and, finally, “What kind of mechanism or procedures must exist within myself, in order that effect or experience could be produced?”
link

prerequisite for every intervention is the invitation of an art institution, which provides an infrastructural framework and cultural capital | exhibition space itself serves as a studio from which the intervention is conducted | projects are collective efforts that take place in the concentrated atmosphere of a closed-session working situation | strictly limited timeframe – usually eight weeks – gives rise to an unusual concentration of the six participants’ energies, allowing the planned interventions to be realized very quickly | issue to be addressed is usually established before the project begins | Rarely have art institutions approached us with a specific request | After extensive research, the group makes a final decision concerning what is in fact to be accomplished | WochenKlausur works toward concrete goals. When project is completed, it is possible to observe how many of its objectives have been achieved. It is then the task of critic to compare the intention with result.
http://www.wochenklausur.at/methode.php?lang=en

Looking back, the idea of “altering social relationships by altering form” appears a little naive. Of course attitudes and habits, thinking patterns and value standards can be marginally influenced through forms. The whole advertising field is sustained by this thesis. But people’s ideological principles, their worldviews and values can not really be changed through colors, sounds and forms | For Situationists and Lettrists what came after the destruction was of lesser importance. Path was the goal, and goal was conflict with high culture | 1970s artists wanted to make contributions to improving coexistence: in psychology and sociology, with healing methods or in incarceration. Avant-garde wanted to choose living localities for their creation, to stop working for eternity, and to address more than just the educated classes of the public | Social renewal is a function of art after art of treating surfaces. It makes more sense to improve the carrying structure before improving surface
http://www.wochenklausur.at/kunst.php?lang=en

His work could be posited as the flip side to Bourriaud’s ‘micro-utopias’ the dark side of relational aesthetics, or micro-dystopias perhaps. He destabilizes the very idea of collaboration as something that offers real social utility in contradistinction to the autonomous art object. Artist thus delivers what could be described as a critique of collaborative, or what Kester terms ‘dialogic’, practices, by simultaneously ‘maximising the creative potential of a given constituency’ and subjecting that constituency to sustained critical scrutiny. This critical scrutiny doesn’t simply undermine authority of that constituency or parody its function, but rather defines the limits of or possibilities for meaningful collaboration per se. Deconstructing the very notion of collaborative activity can reveal as much about the limits of current art education in the UK as it can about the processes of co-optation of art and culture by state controlled public sector bodies and global corporations.
http://www.artandresearch.org.uk/v2n1/kidner.html

After 30 years into the ‘aftershock’ of modernism, then into necessary post-colonial reexamination of our cultural frames, Altermodern intends to define specific modernity according to context we live in – globalization + its economic/political/cultural conditions | pomo is coming to an end | Core of this new modernity is experience of wandering — in time/space/mediums | Multiculturism and identity are being overtaken by ‘creolization’, artists start from a “global state of culture” | Sticking to multiculturalist dogma jails the individuals into their ‘origins’ & ‘identities’ | I’m interested in artists who produce singular itineraries within different streams of knowledge, not ones who insist on ‘representing’ their cultures | I try to understand&explain what I see emerging | The Radicat insists on difference bwn appropriating and ‘formal collectivism’, and attributes a positive value to precariousness as cultural phenomenon. it is about the value of programming and DJing as methods
http://www.artinamericamagazine.com/news-opinion/conversations/2009-03-17/altermodern-a-conversation-with-nicolas-bourriaud/

Bourriaud: 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.
http://en.wikipedia.org/wiki/Alter-Modernism

Santiago Sierra, MX

– paid drug-addicted Brazil prostitutes to have their backs tattooed by a straight horizontal line for a drug of their choice.
– hired 200 immigrants of African, Asian and eastern European origin, all of whom had dark hair, for an ‘action’ in which their hair was bleached.
– hired a group of unemployed men to push concrete blocks from one end of a gallery to the other.
– In an exhibition at P.S.1, New York, Person Remunerated for a Period of 360 Consecutive Hours Sierra hired a person to live behind a brick wall 24 hours a day for 15 days (September 17 – October 1, 2000) without having any further instructions or duties. P.S.1 staff slid food under a narrow opening at the base of the wall. The individual behind the wall was generally invisible to the audience but was allowed to relate to the other side through the small opening in the wall.

– In South Korea, he paid sixty-eight people twice that nation’s minimum wage to block the main entrance to the inauguration of Pusan’s International Contemporary Art Festival.
– On the occasion of the 2003 Venice Biennale he built a wall blocking off the entrance to the Spanish Pavilion. Visitors needed a Spanish passport to gain entry to the building, through the back door. But even then the visitor was confronted with an empty gallery.
– on the occasion of an exhibition by Sierra to mark the opening of a £500,000 extension to the Lisson Gallery, London, he barred the entrance to the gallery with a sheet of corrugated steel. Sierra comments on the considerable frustration of the invited London glitterati who turned up for the opening: ‘It was as though they were saying: “Just get me inside and give me a drink. That’s what I’ve come for”
– During the economic crisis in Argentina (1999–2002) the banks closed and protected their facades with corrugated steel. People demonstrated using a form of protest known as cacerolazo which consisted of banging pots and pans against the corrugated metal. In 2002 Sierra taped these sounds and sent CDs of the recording out to galleries in London, New York, Vienna, Frankfurt and Geneva (Jeffries 2002). The CD sleeve instructed the owner to put speakers in the window and turn the stereo up full volume during certain specified local times.

http://www.installationart.net/Chapter3Interaction/interaction04.html
http://en.wikipedia.org/wiki/Santiago_Sierra

Thomas Hirschhorn, CH, 11 ben X
Bataille Monument, 2002, Documenta, Kassel
– He chose as his location the Friedrich-Wöhler Siedlung, a mixed Turkish-German social housing complex in a low socio-economic suburb of Kassel.
– ‘one thing has always been clear for me: I am an artist and not a social worker.’
– he assembled a team of people living in the Friedrich-Wöhler Siedlung who were willing to work on the monument for the eight euros an hour he paid them.
– to oversee the construction Hirschhorn moved into an apartment in the Siedlung
– He even convinced the people working for him to return his belongings when some of them broke into his apartment and stole his laptop, video, hi-fi and camera equipment.
– Like many artists of the 1990s and 2000s Hirschhorn acts as an entrepreneur, which is to say a boss, albeit a more or less enlightened boss

http://www.installationart.net/Chapter3Interaction/interaction03.html
http://en.wikipedia.org/wiki/Thomas_Hirschhorn

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priprava na prednasku na AVU

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