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The Art of Nothing: Different approaches to the ‘non-object’
The Art of Nothing: Different approaches to the ‘non-object’
The Future of the Image Week 5: The Art of Nothing:Different approaches to the ‘non-object’ Deborah Jackson
Art After Space• Explore the relevance between forms and ideas in an age of project making Olivia Plender Information, Education, Entertainment (2007)
Art After Space• Examine the space for artistic production, and its potential as a transformational context for dialogue, exchange, critiq ue, happenings, performa nce etc Francis Alÿs Paradox of Praxis 1 (1997) Alÿs pushes a block of ice through the streets of Mexico City until itmelts; serving as a way to mark time and measure existence.
The History of the Future"We have eliminated the real world - which world is left ? The world ofappearances ? Not at all. Together with the real world, we haveeliminated also the world of appearances” (NIETZSCHE)
HyperrealThere are two hypotheses.The first one, is that the lostuniverse of appearanceshas not given way to anobjective world - the worldrelieved from truth and Disneyland is presented as imaginary in orderappearances becomes a to make us believe that the rest isfable. real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation. It is no longer a question of a false representation of reality (ideology) but of concealing the fact that the real is no longer real, and thus of saving the reality principle.” ― Jean Baudrillard, Simulacra and Simulation
Jean Baudrillard Integral RealityThe second hypothesis, is quitesimply the fall, the collapse of theworld into reality.The world becomes real to such adegree of reality that is bearable onlyby the way of a perpetual denial ofthe type : "This is not a world”(echoing the famous "This is not apipe" of Magritte, as a surrealistdenial of the evidence)Craig MulhollandThis is not a message(2013)
Jean Baudrillard Integral Reality “To turn reality itself into an art object, you just need to make a useless function out of it” • Instant museification • Virtual ready-madeWe Live in Public(2009)
Art and the Everyday The revolutionary idea of contemporary art was that any object, any detail or fragment of the world could exert the same attraction and raise the same questions as those formerly restricted to a few forms called works of art. All are equivalent, everything is great - universal ready-made.Jeff Koons Acrobat (2003–09)
The Conspiracy of Art According to Baudrillard:• There is no object anymore - just the idea of the object• And what we enjoy in it is not art itself, but merely the idea of art• Thus we are no more in the space of forms, but in the space of ideology Dave Sherry (2013)
Image Feedback Retour-imageEverything we perceive on thescreen is nothing but an image-feedback producing a reality-effectthrough a simulacrum of exchange.
Image FeedbackNow the question is : howto break thiscircularity, this viciouscircle of integral reality -how to think beyondtruth, how to lookbeyond TV, how to livebeyond reality ? Ross Sinclair Real Life painting show (2006)
The Allure of Machinic LifeJohn Johnston characterizes“two conflicting culturalnarratives, the adversarialand the symbiotic,” in whichhumans either lose control oftheir environment at thehands of technology ormerge with technologicalsystems. Olivia Plender Machine Shall be theJohn Johnston, The Allure of Slave of Man but weMachinic Life: Cybernetics, Shall Not Slave for theArtificial Life, and the New Ai Machine(Cambridge: The MIT Press, (2008)2008), 12.
Technology and Postmodern PessimismThe hallmark ofpostmodernismmay well beskepticism, evendespair, overtechnologys rolein shaping ourworld Mike Nelson Coral Reef, 2000
The use of new technologiesthroughout history has alwaysaffected the way artists createtheir work. Technologies presentthe possibilities of how to createnew forms and processes.“Our cognition becomes moreimaginative as twenty-firstcentury computers and art willprovide humankind with anunlimited landscape forexploration, and unparalleledaid for the imagination.” Cliffford Pickover
The ever important function of creating an art object by hand has long been diminished by science and technology.A landscape painted on DavidHockneys iPad
The relationship between art and technology to the galleryIncorporeal materiality (having nomaterial existence) is materialitynonethelessNo longer serve to free conceptsfrom their materiality but shiftmateriality away from familiarobjects to the techno-sciences andpost-modern notions of space Martin Creed Work No. 845 (THINGS (2007)
Art After Space Is arts condition today post-spatial? • explore ‘space’ as an open-ended term, ranging from personal space of one’s self and domestic, intimate surroundings, the Internet, TV broadcasting, the streets, web-based online curating,Martin Creed abandoned buildings and even artWork No. 79 Some Blu-Tack venues, including the imaginarykneaded, rolled into a ball, and space of reflection preceding thesedepressed against a wall presentations (1993)
‘UNOBJECTS’Disembodied presence, devoidof the materialist trappings ofcanvas, paint, stone and metalassociated with conventional artobjects“unobjects” and “immaterials”remain distinct from thedematerialization of artassociated with conceptualmovements and institutional Karla Blackcritique Venice Biennale exhibition 2011
“The specific function ofmodern didactic art has beento show that art does notreside in material entities, butin relations between peopleand between people and thecomponents of theirenvironment.”Burnhan, Great Western Salt Works:Essays on the Meaning of Post-Formalist Martin CreedArt, 15. Work No. 370 Balls (2004)
Cybernetics“Information is information notmatter or energy. No materialism which does not admit this can survive at the present day.” Norbert WienerPart of a utopian view of information,messages here have no materialpresence, acting as pure pattern,distinct from energy, remainingimmaterial until encoded in print,electrical pulse or digital bit. Olafur Eliasson The Weather Project (2003)
Lyotard’s Les Immateriaux ‘Material’ aspects of experience dissolve, when mediated by techno- scientific data, into an infinity of processes and relations that cannot be grasped in perceptual or imaginative terms.“To be is to be perceived.” George Berkeley
“The relationship betweenmind and matter is no longerone between an intelligentsubject with a will of its ownand an inert object. They arenow cousins in the family of‘immaterials’.”Jean-François Lyotard, Les Immatériaux, ed.Reesa Greenberg, Bruce W. Ferguson, andSandy Nairne, Thinking About Exhibitions(New York: Routledge, 1996), 165.
Richard Hamilton Just what is it that makes todays homes so different? (1992)Beyond the dematerialization of the art object, the Pop art problem ofirrealities and issues related to the techno-scientific and digital revolutions,Lyotard was concern with the artificialization of life beyond the museum.
Space of Curating Immateriality The postmodern landscape, in other words, is invisible and imperceptible but not unreal.Craig MulhollandPeer to Peer (2008)
“Change emanates, not from things, but from the way things are done.” Jack Burnham System Esthetics (1974)Keith FarquharPlastic Wood (2009)
An Internet of ThingsA lot has changed since Benjamin wrote his manifesto on the effects ofmass production of art. Art can now be viewed with the click of a mousebecause the internet is saturated with images of art.
Immateriality - Art as ProcessAny finished work of art standssecondary to the process of art.As mere objects they are simplyobjects of the past that havehistorical (and also aesthetic)value as records of our pastintentions and attitudes, they caninstruct upon how someonemight have created their ownvocabulary (reality), as artefactthey show how culture ischanging. Dean HughesFilling up puddles on a day that it didnt rain (2010)
The immateriality question• Where actually is the art?• Is art in the moment or is it in its re-presentation?• Can art ever be an object? Martin Creed Work No. 610 (Sick Film) (2006)
Post-materialismThe intangible is a state, acondition, a thing, whichcannot be directlypossessed in its ownpossibility, perceived, ortraced. Intangible art,therefore, can not be held,seen or reproduceddirectly for an indefiniteamount of time nor can itbe bought and sold,bartered, traded or gifted. Anthony Schrag Restore the Natural Order: Lecturing sheep about the Highland Clearances (2013)
The Tyranny of VisionYou can’t tell art just by looking