[-empyre-] the paradox between control and losing control - isaac mao

lab bjartlab at gmail.com
Wed Nov 24 03:42:55 EST 2010


http://blog.hhdfun.com/


在 2010-11-23,上午8:21, Melinda Rackham 写道:

> Robin and all hi,
> 
> I'm interested in talking more about labour relations and the post
> studio practitioners. Artists move to China/HK to work as it makes for
> easy access to fabrication and electronics. I recall squealing with
> delight when someone sent me pic of the Prêt-à-Porter electronics shop
> they were in. And it puts the Spectacle art we see from China and other
> countries in the Biennial trail sort of exoticised no brainers...  eg
> the 17th Biennale of Sydney showed Cai Guo-Qiang’s ‘Inopportune: Stage
> One’ ( suspended cars in an animated sequence of explosion).
> http://www.smh.com.au/photogallery/entertainment/art-and-design/art-explodes-for-the-sydney-biennale/20100512-uw1m.html?selectedImage=0.
> 
> The previous Biennale had a french artist  filling the inside Sydney
> Opera house concert hall with a real misty humid forrest, and had a car
> being slowly crushed by a huge rock out front. Maybe we can generalize
> to say Mad Max films have penetrated our cultural proclivities - so
> australians like seeing simulated crashed cars...
> 
> The idea of (intimate?) nuanced intellectually engaging work is
> alluring.. and for clarity i useually use the term "emerging practices"
> or "emerging artforms" to cover a wealth and breath of mediated, 
> distributed and constructed concepts environments and objects eg the
> parallel conceptual and material merging of media art and diy
> traditional craft practices. Could you post an example of the sort of
> emerging practices you are speaking of?
> 
> I iwas speaking today of the sort of aesthetic judgements curators make
> at a research event today at RMITspecifically refering to the cntent of
> the Dreamworlds exhibition i curated for Sanlitun in Beijing. - Most
> curators work across a range of mediums and levels of engagement so as
> to speak to a diverse audience on many levels, and i think its almost
> obligatory to include works that may not be aligned to my personal
> taste, but that form a crucial example of a larger whole or thematic. My
> concept of what curation is, is to engage in a dialogue with viewers and
> participants; to create affective experiences, to explore visual and
> corporeal polarities and to illustrate a middle ground. 
> 
> Stephi suggested that we fetishize and commodify dissidenence - i assume
> in relation to Ai WeiWe - an important observation that no one touched.
> and you are  suggesting that specific curators fetishize and comodify
> work creating a cultural hegemony that looks like new media, without
> actually engaging/observing with the underlying and grounding principles
> that the practices have grown from. 
> 
> Which i think brings me back to the authentic nature of art? Is it only
> the unique bringing into being of the unimaginable that can be art, and
> is everything else a fake/copy? Can Casey Reas and Ben Fry be the only
> people who ever use processing authentically?
> 
> And i tend to agree with you however find myself in a conundrum.. The
> digital era was supposed to break us away from the worship of the
> discreet object, and i simultaneously find myself yearning for the
> uniquely crafted object?
> 
> 
> 
> best wishes
> 
> Melinda 
> 
> Melinda Rackham
> 
> Melinda Rackham
> Adjunct Professor
> School of Media and Communications
> RMIT University
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

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