Re: [-empyre-] Lee, Susan, Bill, Matteo, more others

[Aliette <aliette@criticalsecret.org>]

On 22/07/06 21:40, "G.H.Hovagimyan" <ghh@thing.net> probably wrote:

> 
> On Jul 21, 2006, at 4:14 PM, Aliette wrote:
> 
>> 
>> But there were several more ones in in these years of Lee Lozano (early
>> sixties and a bit later), both and otherwise characterized by the
>> radical
>> criticism or representative Arts as power of the value through a free
>> social
>> conception of current life as proper Art work (the total coherence of
>> the
>> value by denying the value): as/and the political criticism of Art,
> 
> gh responds:
> 
> Yes I think that Lee Lozano's practice may come closest to the
> Documenta's oddly poetic interpretation of bare life.  And Yes she was
> the 1960's artist that you are thinking of who just died recently.
> Indeed, the bare life question is very bizarre and cobbled together.
> When you allude to Baudrillard's discussion of war pornography I
> believe he is partially correct

Correct no: just visualizing the bare sense out from the medias by a
confrontation with the social events (that can be something else or other).

The question of the correct interpretation cannot come from one alone by the
way I have presented three quotations from three different analysts as
complements.

> but I also have to counter with two
> artistic examples; Andy Warhols' black and white silkscreen painting of
> an electric chair taken from a Daily News tabloid front page headlline
> and Waalid Rashad's photographs of mangled automobiles that he claims
> are from car bombings.

Where is the problem at the moment it is in fact a radical criticism of the
bare reality of the quotation not a crime. See the hair and the nails of
Pollok in his paints...

 Or shamanic. 

But Abu Graïb pics were not a criticism of the torture at Abu Graib, they
were a Mostra of the re invention of the torture having to stay mediate
exploit and/as tracks of the watch/watching .

> the photographs are real and whether or not Waalid is actually in
> Beirut. The key factor is the information environment. How they are
> presented. The discussion of recent institutional critique within the
> art world assumes that anything presented within an art space, such as
> a museum, art gallery, art fair etc.. can be construed as art.
 
Here is the situation: not of Art but of simulation of Art as radical
criticize to the cultural and intellectual society (human rights and
elitism); an arm of honor by the legal crime of the power to the society:
"fuck the art and fuck the artists: nothing is worth but the enjoyment which
we get by torturing as well made from a job, much higher than all the fist
fucking on earth even snuff, because here is no victim consenting. That is
power. We show our power. We have been called to do this, so we make a party
and here are the pics of the party. More we return service to the society by
getting out its vermin and we prove it by our glorious pics of ennemy."

This is not art, but its radical pamphlet and the radical pamphlet of the
culture at the moment it have lost its symbolic representation upstream.

Here being educated by secret services, but you know how mafia could stage
certain of its contracts but without pics... Would you call it art? It is
bare signature, it is not art. Exactly something that happened recently to
the Baron Stern in Switzerland. The stage of the crime to discredit the
victim. It is old as the world....What have changed at Abu Graib? the pics
but they are no more than a familial album of posed photography becoming an
event thanks the electronic media and the Press media...

> This 
> email discussion list is art in some manner.  I'm not particularly
> convinced of anything,

> maybe the term should be an art-like activity.
In a sort it would be the death of meta politic by Arts. Meta politic in Art
being the last floor of post modernity, after politic to modernity; may be
the roof: from there it is nothing to do but jump into the space...

Nietzsche temptation being collectively realized.
?

A.
> 
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