{"id":494,"date":"2016-07-25T12:21:02","date_gmt":"2016-07-25T09:21:02","guid":{"rendered":"http:\/\/eero.storijapan.net\/log\/?p=494"},"modified":"2016-07-25T12:21:02","modified_gmt":"2016-07-25T09:21:02","slug":"20160725-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/20160725-2\/","title":{"rendered":"20160725"},"content":{"rendered":"

Visited\u00a0Alex Straschnoy’s “Le rappel \u00e0 l’ordre” (2016) at the Forum Box gallery<\/a>. The video is presented as a\u00a0clinical autopsy\u00a0of art exhibition packaging technologies, logistics and infrastructure. Straschnoy has visited various art museums to document how museum staff transports and packages art objects. The video is very clean and shows only equipment, containers\u00a0and the feet and hands of the busy workers.\u00a0“Le rappel \u00e0 l’ordre” would be a fitting addition for\u00a0a museum collection. It celebrates\u00a0the unseen labor of the museum staff and traces networks art\u00a0objects\u00a0touch.<\/p>\n

The video is\u00a0accompanied with texts which claim that “each institution has a different tradition in terms of packing and therefore a packed work will reveal more about the institution doing the packing than about the packed work itself”.\u00a0Having worked closely with museum and gallery logistics, I have to argue that packaging is a very standardised practice and there is very little room for improvisation. The dimensions of boxes\u00a0are fixed on the sizes of trucks\u00a0or sea containers and packaging materials are\u00a0standardised.\u00a0EUR-pallets<\/a>\u00a0rule logistics. But this detail\u00a0a non-issue concerning Straschnoy’s artwork.<\/p>\n

Straschnoy draws attention to the insane amount of vain labor and excessive resources which are bind to the presentation of art objects. It’s important to focus on the infrastructure art objects require. Current ecological concerns call out for a new kind of artistic realism. Artistic representations\u00a0must be made in relation\u00a0of the art object’s material impact and technical resources it’s presentation requires. Art objects must succumb to the same critique other forms of consumer culture are subjected to.<\/p>\n

One of the accompanying texts celebrates single-channel video works that “have become an important part of the art world offerings among other reasons due to their extreme portability”. To be fair\u00a0Straschnoy should have presented how the monitor that enables his single channel video was\u00a0packaged and transported to the exhibition site. I think it would have been fitting\u00a0skip the exhibition contexts all to together and publish the work online. The\u00a0videos trailer on vimeo<\/a>\u00a0offers adequate cues to\u00a0enjoy the piece.<\/p>\n

The idea of evaluating\u00a0art through its relation to\u00a0infrastructure networks (which make its presentation and form possible) is related to\u00a0Mierle Laderman Ukeles concept of “Maintenance Art” which was a\u00a0critique of the minimalist mindset (Minimalist were dependent on the existence of white cubes but\u00a0failed to see the wo\/manpower required in the upkeep of such venues).\u00a0Ukeles argues that artworks should not illustrate what is wrong in the world, they should act to make it better. This is\u00a0very interesting subject concerning our Trans-Horse project<\/a>.\u00a0We have claimed that artists should consider\u00a0the\u00a0infrastructure artworks\u00a0require as a statement\u00a0(More in Finnish<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"

Visited\u00a0Alex Straschnoy’s “Le rappel \u00e0 l’ordre” (2016) at the Forum Box gallery. The video is presented as a\u00a0clinical autopsy\u00a0of art exhibition packaging technologies, logistics and infrastructure. Straschnoy has visited various art museums to document how museum staff transports and packages art objects. The video is very clean and shows only equipment, containers\u00a0and the feet and … <\/p>\n

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