The predicament of contemporary art

 The predicament of contemporary art

이 글에서 대부분의 다른 멤버들은 Krauss의 technical support 개념이 arbitrary하다고 비판적인 입장유지 . 이 글은 보다 더 medium 개념의 위기에 대해서 논하고 있으나, yet in a larger context, 이 것 또한 critic의 위기이지, practice의 위기는 아니다. 

내가 보기에 practice는 위기를 맞이했던 적이 없다. 

Rosalind Krauss / Hal Foster / Benjamin Buchloh / Yves-Alain Bois / 참여한 roundtable

BB: but also recognize its susceptibiltiy to becoming integrated into those subsets of ideological control. And yet, if there are artistic practices that still stand apart from this process of homogenization, I am less convinced than ever that they can survive, and that we as critics ansd historians are able to support and sustain them in a substantial adn efficient manner, to prevent their total marginalization. (673)

RK : In my view, postmodernism, understood through the prism of poststructuralism, constituted a great critique of essentialist thinking- of what is proper to a given category or activity. It annihilated the very idea of the self-same, and launched an especially strong attack on the idea of the medim. So the medum came under a concerted assault from the most sophisticated thinkers of the sixties and seventies, and that critique joined a similar attack in Cenceptual aart on medium-specificity in art; this was supported in turn by the reception of Duchamp at the time, which only underscored the Conceptualist contempt for the medium. And then Video entered the field of aesthetic practice, which also disturbed the idea of the medium. So poststructuralism, Conceptual art, Duchamp reception, video art; togheter they effectively disemembered the concept of the medium.

HF : This notion of medium (technocal support) sill seems a little arbitrary to me, almost free of historical motivation, let alone of social convention. (674)

BB: I disagree with many of the statement of you’ve made. (675)

HF : Bill Viola를 예롤 들면서.  the effect of spiritual immediacy through the means of extensive mediation. This effect is a kind of techno-sublime that overwhelms body and space alike, but which today goes well beyond simple distraction to outright immersion. An immersive, even mesmeric experience seems to be the desired effect of much art today, and it is very popular, in part because it aesthetizes, or artifies, an already-familiar experiences-the mind-blowing intensities produced by media culture at large. (676)

YAB : The digitalization of images is going to be the Esperanto of globalization. (676)

RK : Viola produces the video monitor as a black box meant as an analogue of the viewer’s own head; the psychic space externalized as the physical surround. Once physical space is converted to psychological space in this way, all connection to the reality of his artistic means is dissolved. (677)

HF : Right. It is a ‘faux-phenomenological‘ experience: experience reworked, keyed up, given back to us in a very mediated fashion-as immediate, spiritual, absolute. (677)

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