{"id":160,"date":"2016-04-20T11:37:10","date_gmt":"2016-04-20T08:37:10","guid":{"rendered":"http:\/\/eero.storijapan.net\/log\/?p=160"},"modified":"2016-04-20T11:37:10","modified_gmt":"2016-04-20T08:37:10","slug":"20160420-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/20160420-2\/","title":{"rendered":"20160420"},"content":{"rendered":"

Re-reading “Conceptual Art and Eastern Europe<\/a>” by\u00a0Zdenka Badovinac. In the text\u00a0Charles Harrison talks about how “Conceptual art is the collapse of the boundary between artistic and theoretical practice, the idea that theoretical practice might be a primary artistic practice” (This sounds very similar to\u00a0Boris Groys writes about in “In the Flow”). While reading a critical\u00a0idea came to mind: Theory is something which validity can be tested. This indicates\u00a0that the conceptual art of late 70ties\u00a0was\u00a0a prelude to art as a social practice which aspires\u00a0to have a positive impact in the communities it addresses (aka. art utilized to build wellbeing in communities). Art & Language style conceptual art is embedded with a\u00a0profit target!<\/p>\n

A revealing\u00a0part of the text is were Groys identifies how the seemingly un-political art made by soviet-artist Kabakov, Komar & Melamid, which was not against the regime\u00a0(it was “non-pro, non-con, non-anti”) \u2013\u00a0Was actually an aggressive deconstructivist practice. The movement\u00a0declined to\u00a0build its credibility\u00a0by celebrating\u00a0the underdog position avantgarde is shoved into. Because the works weren’t ideologically against or with the regime they\u00a0forced\u00a0the\u00a0audiences to interpret the works from a perspective which was outside the systems boundaries and control.<\/p>\n

Groys says: “We were deconstructionists and didn\u2019t want to be politically engaged, since this could somehow be a trap, when people took precisely the positions power wanted them to take\u2014even if it is a dissident position. So we tried to escape this kind of framework\u2014not to find a place within it as dissidents, but to question it, to escape the entire ideological framework.”.<\/p>\n

Cristina Freire explains how the notion of an artist differs in Latin America and the West: “\u2026 idea of participation, which H\u00e9lio Oiticica was really into, meant that it was very important to not be an artist. The idea of an autonomous work of art really didn\u2019t matter at all”. A very important point she makes is that: “When Latin American artists from this period are discussed in the West, they are assimilated into Western art history. “.<\/p>\n","protected":false},"excerpt":{"rendered":"

Re-reading “Conceptual Art and Eastern Europe” by\u00a0Zdenka Badovinac. In the text\u00a0Charles Harrison talks about how “Conceptual art is the collapse of the boundary between artistic and theoretical practice, the idea that theoretical practice might be a primary artistic practice” (This sounds very similar to\u00a0Boris Groys writes about in “In the Flow”). While reading a critical\u00a0idea … <\/p>\n

Continue reading “20160420”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[14,38,39,40,41],"class_list":["post-160","post","type-post","status-publish","format-standard","hentry","category-log","tag-boris-groys","tag-charles-harrison","tag-cristina-freire","tag-in-the-flow","tag-zdenka-badovinac"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/160","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/comments?post=160"}],"version-history":[{"count":0,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/160\/revisions"}],"wp:attachment":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/media?parent=160"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/categories?post=160"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/tags?post=160"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}