[-empyre-] What is to be done .... continued
- To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
- Subject: [-empyre-] What is to be done .... continued
- From: Christiane Robbins <cpr@mindspring.com>
- Date: Tue, 16 Jan 2007 10:37:01 -0800
- Cc:
- Delivered-to: empyre@gamera.cofa.unsw.edu.au
- Domainkey-signature: a=rsa-sha1; q=dns; c=nofws; s=dk20050327; d=mindspring.com; b=UmrrcREoZUGqmy6LRQrftrgskqTtZuANK/GZ3yAfOGVF3XB/mRA4hVGuCkq0S2nc; h=Received:Mime-Version:Content-Type:Message-Id:Cc:Content-Transfer-Encoding:From:Subject:Date:To:X-Mailer:X-ELNK-Trace:X-Originating-IP;
- Reply-to: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
Greetings to everyone from sunny and frigid California!
In the continuance of this discussion I offer the following comments
in hopes of generating further commentary -
It could be suggested that Roger Buergel's laudable utterance of
“what is to be done?” is being imagined within a seeming consensual
utopian dream for global salvation through the exhibition of various
cultural practices. My reading of the subtext of his statement is
as a collective consciousness or understanding of art practices as
inhabiting the realm of an almost secular spiritualism and, as such,
a wish for artists to engage in a somewhat evangelical aesthetic
response.
The implicit assumption of a narrative trajectory for art practices
- for education practices - assumes a collective set of purposes and
necessities and, yes, impossibilities. It requires that we think
and evaluate education practices and directives through the gelled
lens of globalism which offers a branded patina of regionalized
specificity and individuated experience. Any understanding of what
constitutes education and artistic practices needs to be based upon
what it is that artists do, where they do it, how they do it ... and
why they do it. As we understand, artists do different things in
diverse cultures and are accompanied by a dissimilar range of
relational dynamics and understanding. Where they are "educated, "
how they are "educated" or 'trained" and what they ultimately produce
speak to the complexities and inherent ambiguities that exist within
these varied contextualized and often, institutionalized and
commodified platforms. A relevant query here is whether or not the
construct of an exhibition such as Documenta is effective in
adequately providing a context for various art practices to function
as modes of transferable knowledge within the “global complex of
cultural translation?”
All best,
Chris
Christiane Robbins
J e t z t z e i t
Los Angeles l San Francisco
CA l USA
... the space between zero and one ...
Walter Benjamin
The present age prefers the sign to the thing signified, the copy to
the original, fancy to reality, the appearance to the essence for in
these days illusion only is sacred, truth profane.
Ludwig Feuerbach, 1804-1872,
German Philosopher
This archive was generated by a fusion of
Pipermail 0.09 (Mailman edition) and
MHonArc 2.6.8.