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NEW-MEDIA-CURATING  May 2015

NEW-MEDIA-CURATING May 2015

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Subject:

Re: Curating Process, Byproducts, Sytems & Excess

From:

Johannes Birringer <[log in to unmask]>

Reply-To:

Johannes Birringer <[log in to unmask]>

Date:

Fri, 29 May 2015 20:24:49 +0000

Content-Type:

text/plain

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dear all

still trying to catch up, and reflect on how some of you, during this month's
discussion, describe process or think about whether (or why) processes 
(and Marisa, below, refers to "embedded artists") can be or need to be
curated. 

Refreshingly, the terms used by Marisa also seem to point at some political
questions, regarding hosts and guests, or exhibition spaces within the
arena discussed here (first world museums, galleries, festivals?), or regarding
entanglements that one might approach looking at the depoliticization
of social reality, and how such depoliticized politics (global capitalism)
- alongside the well analyzed colonial and biopolitical logics (think of Mbembe,
Agamben, Preciado, López Petit, Bourcier, and most recently Marina Gržinić 
on her writings on Necropolitics, Racialization & Global Capitalism) – are reflected 
in contemporary art and performativity.

I guess I was startled at your example of renaming oneself (if you are privileged
enough to be able to do that), and having read Gržinić's devastating critique of the
three "Janez Janša" artists (JJJ) who named themselves after a right wing
Slovenian politician (who then lost election in 2008), I wondered
what you meany by "the gesture's power to create and revise social narratives"?

Gržinić, as you may have read, refers to the JJJ-"artwork" as obfuscating the
cultural and political space of Slovenia, as a failure to connect to past events
or acknowledge what NSK/Laibach attempted in the 80s, thus as a kind of postmodern fascism,
an over- cynical gesture (especially in the Slovene context of the Erased People,
those more than 30,000 "ethnic" citizens, workers and migrants who had their rights taken away in 1992)
through aesthetic--artistic level of play (game?) or fun that allowed the three artists to change
all their documents, without taking into consideration that in 2007-08 there were
still many thousands of "racialized" others without papers.  Gržinić, obviously, is
discussing repetition and excess, byproducts, embedding, and systems as well,
but through the critical lens of analysing processes of racialization, othering,
privatization, exploitation, expropriation and dispossession under global neoliberal capitalism
("luxury subjectivity production" of course continuing too, so that the middle class 
and the elite can attend the Venice Biennial, etc.)

And when (and why) did museums and such-like monopolies exactly begin to want to exhibit (curate)
process based art? emergence? 


regards
Johannes Birringer

________________________________________
[Marisa Jahn schreibt]
Sent: Thursday, May 21, 2015 3:30 PM

What came to mind was the strategy of various embedded artists that adopt
the language, look, and feel of their 'host' organizations to produce
artwork that is a 'byproduct' of a larger system. I spent a few years
researching artists embedded in industry, science, and government which I
published in a book called 'Byproducts: On the Excess of Embedded Art
Practices." (http://www.studiorev.org/p_byproduct.html - free downloadable
PDFs can be found online by googling) Driving my interest was something
that resembles Juliette's query — in this case, I referred to the artwork
as the *excess* of a process. As one example, on October 5, 2007, the new
media/performance artist Kristin Lucas became the most current version of
herself when she succeeded in legally changing her name from Kristin Sue
Lucas to Kristin Sue Lucas (same spelling) in a Superior Court of
California courtroom. On the name change petition, she entered the word
‘refresh’ as the reason for the change. After a philosophical debate on the
perception of change, and a second hearing date, the presiding judge who
granted the request said: “So you have changed your name to exactly what it
was before in the spirit of refreshing yourself as though you were a web
page.” The artwork is both the process and its artifacts — the court
transcripts, the court sketch, and other artifacts.

In a project that similarly relies on language (specifically the
performative utterance) as political intervention, three Slovenian artists
changed their name to that of the Centrist Prime Minister, Janez Jansa. The
"artwork" includes all the artifacts of the process as well as the
gesture's power to create and revise social narratives.

The challenge of curating process thus faces many embedded artists .... 

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