Unreal Nature

May 11, 2017

Deferral of Decision Making

Filed under: Uncategorized — unrealnature @ 5:37 am

… It tries to get to the point just before the only option was to play the tuba to the workers.

This is from Industry and Intelligence: Contemporary Art Since 1820 by Liam Gillick (2016):

… Shortly after 1963, something distinct from the modern art museum begain to emerge: the development of the contemporary art museum, which was often formed by people who felt rejected from an establishment that had founded various modern museums with specific ethics, objectives, and desires. The museums of contemporary art were promiscuous, sponsored, and part of a series of processes connected to management strategy — negotiation, compromise, and risk taking, all intended to be more responsive to what was actually being made and finding kindred spirits in the artists who refused to acknowledge any traditional hierarchies and who were highly conscious of coding, semiotics, and the limits of expression.

[line break added] Artists were synchronizing with a constructed society toward a transitory statelessness, leaving behind a model of shimmering stability within permanent work, [for] permanent insecurity, and the willful delusion of endurance via deployment of the nuanced mass that would become contemporary art.

[ … ]

… At the heart of the discursive is a reexamination of the day before as a model for understanding how to behave, activate, and present. It tries to get to the point just before the only option was to play the tuba to the workers. In the past, I have used this quite frequently as a device: the day before the brass band became the only option, the day before the mob became the workers, the day before the factory closed, the day before Hotel California was released — the idea of a French bar in the middle of nowhere, with nothing to listen to and everyone waiting for the arrival of the soft future.

The role of the discursive is to not look back too far.

[ … ]

… Art is a series of scenarios/presentations that create new spaces for thought and critical speculation. The creation of new time locations and shifted time structures actually creates new critical zones where we might find spaces of differentiation from the knowledge community. For it is not that art is merely a mirror of a series of new subjective worlds. It is an ethical equation where assumptions about function and value in society can be operated upon. There is no art of any significance in the last forty years that does not include this as a base-level differentiating notion.

The idea of the first work or the development of ideas is not toward the total production of all work in the future any longer. [ … ] The notion that an artist is obsessed by a structure or an idea’s content is sometimes self-perpetuated. The apparent work is no more than a foil or mask to a longer deferral of decision making. The art becomes a semiautonomous aspect of lived experience for the artist as much as the viewer.

My most recent previous post from Gillick’s book is here.




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