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RANT AGAINST THE EDITION.

It’s been a while that this thought has been stuck in my head but since my academic writing lacks both the skill and the bibliography to put it in an acceptable text I shall present it as a rant but since rants have the tendency to turn into manifestos I will keep it short and shallow, as always.

The question is if making editions in art is ethical. WOW! Did I just mention ethics? This is more serious than you thought.

What do I mean with editions?

Well pretty much everything that makes the same point with another work (made by the same artist) qualifies as an edition. Hold on! I know you are already getting upset but let me get it straight.

I don’t only mean limited editions, signed reproductions, prints etc. I mean that since Fontana sliced the first canvas the work was done he should have moved on and throw the rest to the bin. I am not going to go into more examples; this is a rant after all.

I loathe repetition within the work of the same artist and I am no exception I have repeated myself more times than I dare to admit. But the point of this rant is not to point fingers we have all done it and will continue to do it as long as we have to pay rents.

Give free housing to artists and you will break even from the reduction of the rubbish collection costs.

Art is a wasteful business, and making the same art works over and over again might make the few on the top reach but is directly against any ethical code an artist should have.

I mean we should be spearheading the introduction of progressive and challenging ideas into the unwilling society. At least that’s what I thought our job is as artists. So once we have made our point with an artwork reproducing it in different versions that say the same story is unethical as well as pointless. I am going to sound terribly Platonist (and trust me I am NOT) but making the same point over and over again weakens it rather than making it louder.

I really need someone to come and tell me how wrong I am.

Most of the artists whose work I love (and feel jealous of, as it naturally follows) practice this system of reproducing a successful artwork over and over again. No I am not going to list names because I will start to read like a deranged groupie. If there is a point of making 200 versions of the same painting I fail to recognize it and since this is a rant, anything I fail to recognize should burn.

I am ready to make concessions if the concept of the work fails without reproductions but this is a tiny exception amidst the mountains of rubbish we load to this planet .I don’t see why we all want to become producers of rare commodities for rich collectors, why do we all secretly dream to hang our work in a luxurious lobby so people will see it and want one for their lobby.

We should learn to move on, make a point and move on. Art is about changing the world but in subtle way. It should be a slap that feels like a kiss. And both slaps and kisses have a longer aftertaste without repetition. 

Tags: art
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Antony Gormley.

Antony Gormley.

(via thomasapostrj)

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Fun titles are fun.

Coming to the final stage of preparations for the degree show I had to come up with a title.

Some times titles are there before the actual work is, sometimes the just pop in your head and make perfect sense and sometimes (like in this case) they are just impossible.

Although I do leave some of my works untitled and I used to have a “code” titling system for some of my older works, I have come to understand that the right title can make or break an artwork.

The first titles I came up with for my final work were so complicated and big that I couldn’t even repeat them in my head, even though they perfectly described the artwork.

But titles are not there to describe, not any more at least.

So I asked a friend and fellow artist who has always elaborate deep titles for his works how he comes up with them.

"Look back to your inspiration" he said.

and I did… http://thomasapostrj.tumblr.com/post/24090241106/free-will

the first minutes of this talk are full of titles…so many,so beautiful but they still sounded wrong.

But the Internet is a funny place…especially for someone like me…with the attention span of a five year old with a sugar rush.

After a few clicks I ended up in a video about management and how outdated is the idea of driving employees with a “carrot on a stick”…

BOOM!There it was!

"carrot" the title makes sense, it’s simple and it’s FUN!

Yes fun is important.

I will never forget my favourite tutor from my undergraduate studies always saying that I didn’t have enough humour in my works. So if you want to blame someone,blame him!

"carrot" it is  

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What do we think, when we think of something else?

My last post was about Spencers Finch’s work “PATHS THROUGH THE STUDIO”. 

This idea of randomness being generated by the movement of bodies in space shown in Vito Acconci’s “Following Piece” in Bruce Nauman’s “Mapping the Studio” and in Francis Alys’ “Night watch” as well, is very intriguing. But I’m not that interested in this idea exactly in this post.

I’m more interested in that sensation you get when you suddenly find your self in a room wandering: “Why did I came here?”  or when you find your self in frond of an open cupboard without knowing what was that thing you were looking for.

There are two ways to find yourself in this situation while sober :

1.You are looking for something so you take the decision to look in the cupboard for example, but on your way there something happens that destructs you so much, you forget all about your previous search.

2.You are thinking of something and as people do you just walk around when you finally find yourself in a place without knowing why.

I am interested in the second situation.

When this happens you can clearly recall and rationalize all the thinking you have been doing but it is impossible to recall the decisions you took on which way to walk or which room to enter.

So there is a part of your brain making those decisions on “auto-pilot”. But if the brain can make this kind of decisions it might as well make more “important” decisions in “auto-pilot”.

Which part of “me” is responsible for these decisions?

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Spencer Finch’s Paths Through the Studio is not the kind of work that would bother me if it wasn’t so closely related to what I have been researching this last year. 
For me, the same pint was made by Bruce Nauman a long time ago. Still the aesthetics of the lines against the blanc/white background are really close to what my final project will look like. Although, it might be far-fetched, I think these paths in the studio might be related to the paths in the artist’s mind. 

museumuesum:

SPENCER FINCH

Paths through the Studio, 2012

oil pastel on paper, 21 drawings, 76.2 x 76.2 cm each

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alecshao:

Karo Szmit
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work in progress 

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I think, I completely misinterpret, everything I read.

"Suprematism is a most concrete thing, but it’s abstractionism, it’s derivative character repulses the concrete brain; it fails to perceive the material in Suprematism which can be transformed into a clear, concrete task" 

going through my notes I found this extract from a book with Malevich’s writings.

Can’t recall what made me write this down.I can’t even remember what this sketch underneath the note is supposed to mean.

I think I was mostly interested in this idea of the “concrete brain” being repulsed by Suprematism’s abstractionism.

First of all who knows what exactly Malevich meant with “concrete brain”? I will go ahead and rename this “concrete brain” as “rational mind” or “rational part of the mind” or even better “rational self”. This part of us that tries to make sense of things.

Since I have already started distorting Malevich’s writing I might as well take it all the way.

So, let’s get rid of Suprematism and generalize: The concrete brain is repulsed by abstractionism(blaahhh…I hate this word)and “it fails to perceive the material in Suprematism”.

So Malevich is saying that our “concrete brain” has trouble perceiving abstract art because there is an extra step to be taken between the perception of the artwork and the idea/concept (suddenly Malevich sounds dangerously Platonic). So is it there were the artwork lays? Is the artwork the materialization of an idea? I do think that this was what Malevich was all about. The construction of a visual dictionary so that artistic ideas can be conveyed equally and internationally with less information being lost in the “translation”. This makes a lot of sense considering when, where and why Malevich came up with this. 

But for me, now and here this sound as a suggestion to compromise part of the concept in order to materialize it.

Every time I try to to take this step from the concept to the actual work I have to tell myself:” if you can’t say it in a simple way, shut up!” Still I never do it.

Malevich said everything he had to say with this work:

Which for me makes more sense than all of his writings put together and the coolest thing about it is that it cannot be misinterpreted, it’s a black square on white background for everyone.

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scipsy:

“A carpenter is a person who practices a highly skilled trade, carpentry, to create new and useful and lovely things out of wood. It is a non-trivial occupation, there’s both art and technology involved, and it’s a productive talent that contributes to people’s well-being. It makes the world a better place. And it involves wood. A pyromaniac is a person with a destructive mental illness, in which they obsess over setting things on fire. Most pyromaniacs have no skill with carpentry, but some do; many of them have their own sets of skills outside of the focus of their illness. Pyromania is destructive and dangerous, contributes nothing to people’s well-being, and makes the world a worse place. And yes, it involves wood, which is a wonderful substance for burning. Calling a creationist a scientist is as offensive as praising a pyromaniac for their skill at carpentry, when all they’ve shown is a talent for destroying things, and typically have a complete absence of any knowledge of wood-working. Producing charcoal and ash is not comparable to building a house or crafting furniture or, for that matter, creating anything. You can’t call any creationist a scientist, because what they’re actively promoting is a destructive act of tearing down every beautiful scrap of knowledge the real scientists have acquired.”

The carpenter and the pyromaniac

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The fear of death is for the living.


Stop Dave, I’m afraid (Full)

In “Space Odyssey” when Dave(main character) is taking apart the super computer “HAL 9000” the machine states that it’s afraid. Afraid of losing it’s mind.

Can there be genuine fear of death in a machine?

Can a machine consider it’s self as an entity that can be ended? Isn’t that stupid? A machine can be turned on and off. We kill and resurrect machines everyday.Sometimes we even put them in hibernation just to save time from bringing them back to life.

Where is the self?

"Where is the self? A neuroanatomical theory of consciousness."byStrehler BLMolecular Biology, University of Southern California, Los Angeles.

SourceMolecular Biology, University of Southern California, Los Angeles.

http://www.ncbi.nlm.nih.gov/pubmed/1672473

but is it there? Or to be more precise is that the self I am looking for?

If that’s the case then anything that can define it’s existence divided by it’s environment can have a self?

Are things that simple?

Animals can do that the same way people do, probably even single cellular  organisms can too.But we will never now. Maybe my laptop can too, should I feel bad for turning it off? Is it scared every time I do it?