Radicant Notes pg. 143-176

Duchamp’s Influence

Louis Althusser- Value of an object depends on its destiniation, but the value is never absolute

Ideology is “imaginary representation that men make of their real conditions of existence” pg. 145

All great artists copied, interpreted and recycled masters of the past?

Marcel Duchamp The Bicycle Wheel (1913)

Notion of choice, indifference, best its shared, worst , bores and repulses

Displacement, when a ready made is recognized by the museum or camera “absolute contradiction”

Approriation

Yves Klein, Blue Monochrome, 1961, Dry pigment in synthetic polymer medium on cotton over plywood

Marcel Duchamp, LHOOQ, 1919, Found Object

Duchamp gave a loose translation of "L.H.O.O.Q." as "there is fire down below" (in fact the term avoir chaud au cul is slang used in the sense of "to be horny").

Detourement- is a variation on a previous media work, in which the newly created one has a meaning that is antagonist to the original. The original media work that is détourned must be somewhat familiar to the target audience, so that it can appreciate the opposition of the new message. The artist or commentator making the variation can reuse only some of the characteristic elememts of the originating work. (Wikipedia.org)

Citing without quotation marks, without the source and with the aim of deliberating transforming it the idea that one would radically distort it, this was too much Duchamp.

How does the image become the sign?

Reciporal Readymade pg 181

Interpretation error

If the interpretation error is a direct result of the artistic interpretation, shouldn’t the viewer and the artist take in their own meaning for what the are is?

On page 152 Bourriaud states, “We cannot conceive of manipulating objects beyong certain limits, the ideology of comptence induces us unconsciously to refuse treading what we don’t understand”. If expanding the context of art is the meaning of Altermodern, why is he now limiting how far you can go? Isn’t the artist job to break the rules of understanding?

Submerged with information with relatively little importance

Internet as a liquid ribbon we are learning to pilot through

Pg 161 “Culture is the rule, art is the exception” recalled Jean-Luc Godard

Kim Soo Ja Lotus: Zone of Zero, Installation in the Rotunda at Galerie Ravenstein, Brussels, 2008

Pascale Marthine Tayou Plastik Diagnostik, 2008

Marthine is a Cameroonian sculptor whose signature is the heap: colorful masses of stuff crowd his shows and spill across the floor. He uses plastic bags, gum wrappers, flags, and toothbrushes to create frenzied clutter. Tayou's work is appealing, even cute, but its obssessive proliferation suggests the unhealthy power of material culture. His work is still relatively unknown in the U.S., and I look forward to seeing more of it soon. His website is incredible, an overstimulating masterpiece in its own right: http://www.pascalemarthinetayou.com

It is not surprising that art sometimes moves away from representation to become a part of reality itself

Art is not made within a vacuum. Inspiration is taking from life

Formal Communism

I again believe that imitation is the sincerest form of flattery

Copyleft- anti copyright movement

Critical Art Ensemble is a collective of five tactical media practitioners of various specializations including computer graphics and web design, film/video, photography, text art, book art, and performance.

Formed in 1987, CAE's focus has been on the exploration of the intersections between art, critical theory, technology, and political activism. The group has exhibited and performed at diverse venues internationally, ranging from the street, to the museum, to the internet.

Jerry Rubin

Sam Durant

Inverted artificial tree trunks grafted with real roots, fitted with audio speakers and installed stump side down. Root side up on mirrors (I like the use of mirrors!)

is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism.

Allen Ruppersberg, Private Conversations, 2006, Installations