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Mediaspace
For the first time Wand 5 e.V. was announcing an open competition to select the media-space 09 curatorteam. There were no limitations on the means of implementation. The purpose of this open competition was to establish a new experimental space - an >open space< in which artists can perform. (>> more) -
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Today is the day !!!!
see for mediaspace_09 details >>>>> Mediaspace WIKI
see general Filmwinter Program >>>>> 22. Stuttgarter Filmwinter
see mediaspace_09 Program >>>>> mediaspace_09
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Selection Media-Space Art-Space
For our exhibition during the 22nd Stuttgart Filmwinter we finished our selection and invited several artists. Have a look at the selection page.
Cultural Codes
via Brian Holmes blog an excerpt from THE AFFECTIVIST MANIFESTO / aka / Artistic Critique in the 21st Century:
“…. Artistic activism is affectivism, it opens up expanding territories. These territories are occupied by the sharing of a double difference: a split from the private self in which each person was formerly enclosed, and from the social order which imposed that particular type of privacy or privation.
When a territory of possibility emerges it changes the social map, like a landslide, a flood or a volcano do in nature. The easiest way for society to protect its existing form is simple denial, pretending the change never happened: and that actually works in the landscape of mentalities. An affective territory disappears if it isn’t elaborated, constructed, modulated, differentiated, prolonged by new breakthroughs and conjunctions. There is no use defending such territories, and even believing in them is only the barest beginning. What they urgently need is to be developed, with forms, rhythms, inventions, discourses, practices, styles, technologies - in short, with cultural codes. An emergent territory is only as good as the codes that sustain it. Every social movement, every shift in the geography of the heart and revolution in the balance of the senses needs its aesthetics, its grammar, its science and its legalisms. Which means that every new territory needs artists, technicians, intellectuals, universities. But the problem is, the expert bodies that already exist are fortresses defending themselves against other fortresses.
Activism has to confront real obstacles: war, poverty, class and racial oppression, creeping fascism, venomous neoliberalism. Yet what we face is not only soldiers with guns but above all cognitive capital: the knowledge society, an excruciatingly complex order….”
aesthetics of current affairs in blue
Just came across this announcement of a new exhibition displaying the ‘Aesthetics of Capital’ .. and wondering if putting aesthetics into the blue helps to understand the current developments …
In his Capital + Code exhibition, Richard Kriesche homes in on interconnections, focusing on the structure of phenomena. In the Aesthetics of Capital light installation (2008) especially created for the Kunsthaus Graz, he bathes everything in a technoid computer-blue light. The installation uses eight projectors and visualization software (which also sees use in the money markets) to project market-type fluctuations on the interior wall of the building. The constantly changing images are real-time responses to search questions on Google involving different combinations of the words art, work, capital and freedom. The images are an indication of an elusive global state.
view >>> animation
D.I.Y. - The artist as model of the crisis
My favorite example of our topic the role of artist Damien Hirst in regards of the crisis got a new contribution by a today’s SZ (Süddeutsche Zeitung) article. While the ‘hardcover copy’ of the newspaper titles ‘Mach’s doch selbst’ Daminen Hirst: Der Künstler als Leitbild der Krise the internet version reads as following:
Kunst und Krise / Mal gewinnt man, mal verlieren die anderen
Damien Hirst wusste schon die florierende Wirtschaft zu nutzen - nun meistert er ihr Scheitern. Der Künstler als Leitbild der Krise.
Artist and crisis / At times one wins, at times others loose
Damien Hirst knew how to use the flourishing economy - now he masters its failure. The artist as model of the crisis.
>>> just quickly posting the link (german only / here a private english translation pdf can be found
… more to follow
Postcapital
This announcement for an upcoming exhibition in the Stuttgart Kunstverein, which will end just a few days before media space 09 will hopefully start, just caught my attention. Thus its focus seems slightly different, it still sounds interesting and related to our thematic choice.
(May be someone of the Stuttgarters can visit and report a bit?? ; ) … )
“Postcapital” revolves around the far-reaching changes having evolved worldwide in social, political, economic, and cultural realms over the last two decades, their watershed moments emblematized in the 1989 fall of the Berlin Wall and the attacks on September 11, 2001.
[…..] Emerging here is the question as to what extent capitalist societies have changed in absence of their erstwhile counterparts and which new walls have been erected through the global politics following events of 1989 and 2001.
The triumphal course of capitalism and of the Western democracies has by no means proved to guarantee peace, security, and stability, as the conflicts in former Yugoslavia, the war in Iraq, or, even more recently, the slumps in the U.S. financial markets have demonstrated. “Postcapital” is an attempt at reading the complex and divergent realities of the twenty-first century by virtue of their forms of representation: the review of an age whose prelude has been pinpointed by Andújar as localized between 1989 and 2001.
The English term “postcapital” references financial capital as well as capital cities. As such, the project explores both the transformations of capitalist societies and the shifting of their urban loci of power.
In 1989, the first cornerstones were laid at the Genevan research institute CERN for the World Wide Web, the significance of which for the transition from industrial to knowledge society has been sufficiently noted. “Postcapital” therefore alludes less to the utopias of a vanquished capitalism than to those upheavals affecting all areas of life that are both spawned and exacted by the networked age of information. In view of contemporary information and storage media, knowledge is, according to the artist’s theory, no longer acquired by visiting archives but rather through life in the networked archives. Thus, an essential role is inherent in the interpretation of information….(read on)
Beautiful Inside My Bank Account Forever…
I tried to put together some articles which give an outline for the Damien Hirst auction in September, which fell together with the first days of the financial crisis. (During the weekend of September 13–14, Lehman Brothers declared bankcruptcy, auction was held on the 16th .. btw they had some early Hirsts in their collection..)
Aside from this eventually interesting fact one can definitly state, that Hirst’s idea about making ‘the art market more democratic’ eventually did not have any major effect.
“Beautiful Inside My Head Forever” his one-artist, two-day auction at Sotheby’s.
In a move that some say has the potential to change the face of art dealing, Mr. Hirst has cut out his dealers — the New York-based Gagosian Gallery and the White Cube in London — and taken his work straight to auction.
Damien Hirst’s Next Sensation: Thinking Outside the Dealer
Damien Hirst sets new auction record with ‘Investment Banker in Formaldehyde’
Damien Hirst: Beautiful Inside My Bank Account Forever…
Markets Slide, But Hirst Auction Breaks Records
Peter Aspden, an arts writer for the Financial Times, said the exhibition sales are “evidence that there are those who are insulated from the real world.” The superwealthy buyers who are attracted to a sale are not likely to be affected by the fiscal circumstances of the past few months, he said.
.. and as he needs it so desperately:
Damien Hirst X Levis Fall 2008 Spin Denim Auction
WSJ: Sign of the Times: National Debt Clock Runs Out of Digits
From the Wall Street Journal
Sign of the Times: National Debt Clock Runs Out of Digits
The national debt clock, the unofficial tracker of the federal deficit maintained by the Durst Organization in New York, has reached its limits. Last month, as the national debt exceeded $10 trillion for the first time, the clock ran out of digits to record the number.
The dollar sign in the clock had to be deleted and replaced with a one to record the massive number. The clock’s owners say a new model — with space for two extra digits — will be in place early next year.
Now the debt clock will be able to reach the quadrillions. Hopefully, that’s not a level that will be breached any time soon. –Phil Izzo
Exclusive art booms despite finance crisis
hopefully or just a fairy story? watch >>
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