Anri Sala(In our conversation in Venice in April 2008, Anri Sala and I tried to define tactfulness and failed over and over again. I decided to record our informal interview in a hope of a future intellectual revelation. Upon my return home I discovered that my interview was missing sound. Inadvertently, our interview ended up being off the record, and all I had were scribbles on a sheet of paper, variations on the theme of impolite tactfulness. As we got more and more lost on Venetian streets with names like Calle Amor dei Amici and Calle della Vida, … Read more
Monthly Archive: February 2005
Anri Sala, Now I see, 12 October 2004 – 30 January 2005, Art Institute, Chicago
Upon entering the installation of Anri Sala’s Now I see (2004), his first 35-mm film, the viewer is enveloped in total darkness. The effect is, at first, purposefully disorienting; then a flicker of light flashes upon a 10 x 12 foot screen. A second or two later, the face of a young man emerges from the pitch-black along with the pulse of an electric guitar. What follows seems to adhere to fairly standard conventions of rock video, with its guitar antics and male posturing, … Read more
In the foreword to an issue of Janus magazine dedicated to notes on subversion, Jan Fabre and Henrik Tratsaert ask themselves one of the most frequently asked questions of the last decade:
“What strategies do artists, dramatists, performers, philosophers, scientists and others put into effect to undermine conventions, and to pervert and question society’s codes?”(“Dissident Voices / Notes on Subversion.” Janus 16.04, Antwerpen, 2004, 3.)
An answer may begin with Guillermo Gómez-Peña’s statement: “Each metier, language, genre and/or format demands a different set of strategies and methodologies.”(Gómez-Peña, “Navigating the Minefields of Utopia,” (A conversation with Lisa Wolford).” … Read more
Marysia Lewandowska and Neil Cummings, Enthusiasts from Amateur Film Clubs 25 June – 29 August 2004, Centrum Sztuki Wspolczesnej, Warsaw
Walter Benjamin produced his most unambiguously Marxist statement about art in his 1934 lecture “Der Autor als Produzent.” Stepping back from inflamed Weimar debates about the politically correct form of progressive art, he maintained that to argue the case for one artistic language over another was to miss the point.
Whether socialist realism was more legible than abstraction was not the issue; the key challenge for Marxist culture, he maintained, was to wrest the technologies of reproduction from the bourgeoisie.… Read more
Vladimir Paperny received his MA in design from Stroganov Art School in Moscow and PhD in cultural studies from Russian State University for the Humanities. His PhD thesis “Culture Two” was published in Russian by ARDIS (Ann Arbor, 1985), NLO (Moscow, 1996 and in English Cambridge University Press, 2003). His collection of essays and short stories “Mos Angeles” was published by NLO (Moscow, 2004). He lives in Los Angeles where he has a design studio.
Yevgeniy Fiks: Moscow is no more. One might say that in the 2000s, one could call this city “Moscow” only for the purpose of convenience. … Read more