Difference between revisions of "Hard State, Soft City Conference"
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Post-internet represents the latest episode in the long trajectory of artistic responses to shifts in the forces of representation and the evolution of media technology. We can characterize these responses in one of four ways: 1) the aforementioned metaphorical appropriation; 2) “technologism”; 3) tech-derived projects and practices, or “derivatives”; and 4) tech-related projects and practices, or “relatives.” | Post-internet represents the latest episode in the long trajectory of artistic responses to shifts in the forces of representation and the evolution of media technology. We can characterize these responses in one of four ways: 1) the aforementioned metaphorical appropriation; 2) “technologism”; 3) tech-derived projects and practices, or “derivatives”; and 4) tech-related projects and practices, or “relatives.” | ||
| − | + | * Pinacotheque de Paris in singapore / blue chip art / increase cachet / bouvier figure ("butler of the art world" - take over the movement of art) | |
| − | Pinacotheque de Paris in singapore / blue chip art / increase cachet / | + | * http://www.bloomberg.com/news/articles/2015-04-27/a-186-million-rothko-pits-russian-tycoon-against-art-merchant |
| − | + | * | |
* "no inventory in the freeport" | * "no inventory in the freeport" | ||
* FREEPORT EXEMPTION INVENTORY | * FREEPORT EXEMPTION INVENTORY | ||
| − | |||
Comment for kat & robin: | Comment for kat & robin: | ||
| Line 45: | Line 44: | ||
* TEXT TOO SMALL!!!! | * TEXT TOO SMALL!!!! | ||
* speak into the mike... no waving it around........ | * speak into the mike... no waving it around........ | ||
| + | |||
| + | * the sharp sighs of people seeing a slide full of words their heads supported by their arms = exhalation in preparation for inhaling the dense mass of words? | ||
Revision as of 02:48, 17 March 2016
https://ari.nus.edu.sg/Event/Detail/7cf552ea-e88e-43a9-a69b-b6f73685ea71
Notes
17 March 2016
Wee Wan Ling, On the Contemporary and Contemporary Art: Culture and the 1980s in Singapore
- gap btwn notion of contemporary and contemporary art in sg
- periodisation: 1980s
- disjunctive states / the state would need to “invent contemporary art” in order to prove it was not a cultural desert
- leading to a post medium condition of the arts
- two strands observed? - 1 conceptualism / statement making 2 activism / realism
- not mutually exclusive but having shared concerns
- what does the post colonial imply for artistic production
- commitment to development not separate from cold war
- Not the Singapore River organised by Arbour Fine Arts, susie queh, tang dawu earthworks notions of the i-ching
The Singapore Freeport as Schrodinger's Cat
- Freeport as art hub as imagined regional market - imagined conduit and site for wealth accumulation
- nomadic capital
http://conversations.e-flux.com/t/freeportism-and-post-internet-art/3343
It is safe to say, however, that never before now have so many artworks been produced to remain hidden, all enclosed in disenchanted wooden boxes, suspended in a permanent circuit of exchange, in a place called a “freeport” because it is free of customs duties and taxes of all kinds. Since no one is allowed to see the art, it is also free of audience and spectators, an anti-theatron; it is a place of un-seeing. We must examine the conflict between the forces that create new ways of representing and being seen, and the relations that just as quickly place these out of sight...
The term “post-internet” did not spread because it was well defined. On the contrary, its ambivalence and its openness allowed it to resonate widely. Its prefix “post-” is borrowed from notions like the “postmodern” or the “post-digital.” “Post-” used to mean “after,” but now it also includes “beyond” and “deriving from.” It confirms and denies at the same time, exerting a kind of double bind. It says: we belong to the internet, knowing that the internet is over. We are digital, but it does not matter, because that is just what everybody is. “Post-” also presumes to know the border of something: post-internet means we believe that the end of the event called “the internet” is somewhere in sight, in the same way that postmodernism served first of all to consolidate modernism into something we could have conceivably moved beyond.
Post-internet represents the latest episode in the long trajectory of artistic responses to shifts in the forces of representation and the evolution of media technology. We can characterize these responses in one of four ways: 1) the aforementioned metaphorical appropriation; 2) “technologism”; 3) tech-derived projects and practices, or “derivatives”; and 4) tech-related projects and practices, or “relatives.”
- Pinacotheque de Paris in singapore / blue chip art / increase cachet / bouvier figure ("butler of the art world" - take over the movement of art)
- http://www.bloomberg.com/news/articles/2015-04-27/a-186-million-rothko-pits-russian-tycoon-against-art-merchant
- "no inventory in the freeport"
- FREEPORT EXEMPTION INVENTORY
Comment for kat & robin:
- DONT APOLOGISE
- SLOW DOWN!!!!!!
- TEXT TOO SMALL!!!!
- speak into the mike... no waving it around........
- the sharp sighs of people seeing a slide full of words their heads supported by their arms = exhalation in preparation for inhaling the dense mass of words?
