[-empyre-] Nake and the Notion of "Public"
archivocaminante at yahoo.com.ar
Sun May 11 11:14:06 EST 2008
Dear Julian, dear Patrick
is very interesting this missunderstanding about the concept "public".
For me public is the oposite of private.
I mean, private is a limit, is a question of propierty.
Public is not a question of space or quantity of audience.
For me public is a dimension of a collective construction,
also collective imagination.
At last, of collective propierty.
When we say that something is public for me means also
something that is looking for the common welfare.
In this sense, neoliberalism is trying to put this experience
in the past, like an anacronich concept, but...
where is today the limit of the private propierty?
then... when we talk about art or culture,
for me we are talking -without doubt- about public sphere.
a "private collection" is a paradox, is the better example
of the consume culture.
Eduardo Molinari / Archivo Caminante
Aramburu 880, Dto.1 (1640) Martínez
Provincia de Buenos Aires – Argentina
0541 1 47 98 48 35
--- El vie 9-may-08, Julian Oliver <julian at selectparks.net> escribió:
> De: Julian Oliver <julian at selectparks.net>
> Asunto: Re: [-empyre-] Nake and the Notion of "Public"
> Para: "Patrick Lichty" <voyd at voyd.com>, "soft_skinned_space" <empyre at lists.cofa.unsw.edu.au>
> Fecha: viernes, 9 de mayo de 2008, 8:28 am
> ..on or around Wed, May 07, 2008 at 10:13:43PM -0500,
> Patrick Lichty said:
> > Just as a clarification, when Julian began from my
> missive and started talking about "the public".
> from the my 1st person anecdote from Nake, a taxonomic
> difference arose.
> > What I meant when I invoked the quote "The Work
> is not Art until is is made Public" does not mean that
> it is aimed at "the public" (the masses), but
> placed "in public", i.e. in the commons or open
> space where "the/a public" might see it.
> > Then, the issue of what constitutes "the
> public" become an issue. But for me, that is another,
> however important, issue that I did not address in my
> earlier statement, or this one. Maybe that's a
> discussion that might open up.
> i think another thread "For whom is art
> "made"?" is very much on this
> topic. i admit to taking a little license replying to G.H.
> reply to your post such that the two threads might converge
> "in public" is, you're right, an interesting
> definition in itself and as
> G.H. Hovagimyan said, this definition is changing
> significantly with
> low-cost mass distribution mechanisms like (primarily) the
> i do however question this idea that a website is any less
> rarefied than
> a public gallery in many contexts. certainly it's open
> to an
> international audience but it is difficult to argue that
> certain sites
> don't attract their own very particular audiences, that
> they aren't
> inadvertedly curated by where they are linked. in this way
> i wonder
> whether a public art gallery is any more or less "in
> public" than a work
> of net-art on a net-art blog. what's
> "net-art" to our precious "general
> public"? how would they arrive at a blog about
> i was commissioned by an art gallery to make a piece called
> <http://packetgarden.com> which i completed last
> year. it had just over
> 140,000 downloads within 1 month of its launch in February
> last year.
> almost all of these downloads occurred after the work
> appeared in
> various information visualisation blogs and others relating
> to network
> security and graphic design.
> was my work "in public"? i'm not so sure..
> did i reach the kind of
> audience the gallery hoped to reach online? probably not..
> does the mere
> potential for contact make the work any more public?
> what i do know is that i reached a whole lot of people
> interested in the same sort of thing, guided by link trails
> left by
> those before them.
> julian oliver
> messages containing HTML will not be read.
> empyre forum
> empyre at lists.cofa.unsw.edu.au
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