1. If we are to start to look at the world through a new framework, how do you successfully evaluate the quality of the process and the product?
2. Removing the lines of ownership, changes the perspective of the business model. So does this idea add to the individual or society? Privacy is no longer a luxury United States citizens have, so we put the majority of lives out for all to see.
3. Bourriaud states, “I do not seek to illustrate abstract ideas with a “generation” of artists but to construct ideas in their wake.” Is this a contradictory statement because he is adding to ‘the big picture’ with his commentary? This is all happening within a time frame that the present is the past and the future is now or already gone by?
4. “Man is subordinate to nature”-Karl Marx
When you don’t have money to buy new, you use what is available to create. In conjunction is the Green Movement, art and society is reevaluting materials we have vs. what we don’t.
How can we make due with what we have, when all we have is shit?
6. If the ‘place’ of art is historically in a gallery or institution, why is it still this way in a post postmodern society? Why cant it take on new forms, as people have the capacity to become artists outside of the traditional sense? Why does society still label artists as outsiders even if we have become the most productive?
7. If imitation is the sincerest form of flattery why are musical and visual artists up in arms, when others imitate their work and remix it? If Girl Talk puts out a song with 21 other musical artists from all genres in it, the odds of a person that generally like hip hop will be opened to lets say country or Hall & Oates, that person will be exposed to music they wouldn’t general like and maybe buy that artists song.
New Vocabulary
Semionuats- produce original pathways through signs
Creation-to create is to insert an object into a new scenario, to consider it a character in a narrative
Detournement-
Socius-
‘Post’ means nothing more than a zone of activity
ARTIST LIST
Mike Kelly & Paul McCarthy “French Acconci” 1995
Phillip Johnson
Liam Gillick
Liam Gillick Övningskörning (Driving Practice), 2004, Courtesy The Artist
Sarah Morris
Metro Captial, 2001, House paint on Canvas
Maurizio Cattelan
Untitled, 1996, Acrylic on Canvas
Tobias Rehberger
The Sun from Above, 2000, Installation, Museum of Contemporary Art, Chicago
Andrei Tarkovsky
Kendell Geers
Jens Hanning
Daniel Pflumm-everything is advertising
Sylvie Fleury
Here Comes Santa, Bells- Still from Video
Joan Miller-TV Shows
Hans Steinbach
Situationists
John Armleder
Furniture Sculpture/Untitled painting 1988-2000, chairs from Bali/painting, pencil on canvas
Rirkrit Tiravanija-where does the kitchen stop and the art begin? New connections, relational aesthetic
How to inhabit the world without residing anywhere?
Pierre Huyghe-a critique of the narrative models
THIS IS NOT A TIME FOR DREAMING, 2004
Dominique Gonzalez-Foerster
Dominique Gonzalez-Foerster, TH.2058,14 October 2008 -13 April 2009, Tate Modern, London
Pierre Joseph-Little Democracy
Navin Rawanchaikul
Phillipe Parreno What are the tools that allow one to understand the world?
Welcome to Reality Park, 2005, framed c-print
Speech Bubbles, 1997, Installation, Mylar Balloons & Helium
Vanessa Beecroft
Hans Haacke
Wang Du- Armchair Strategy 1999
Swetlana Heger & Plamen Dejanov & BMW
Techno Nation
Gilles Deleuze-stop interpreting symptoms and try more suitable arrangements
Stanley Brown
Death of the author
2001 & Beyond
Jakob Kolding
The Birds, 2009, Collage on Paper
El Lissitzky
John Heartfield
Gunila Klingberg
Fatimah Tuggar
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