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robertogreco : artproduction   3

Minimum Viable Artwork | Feral Research Coalition
"That established cultural institutions are having a hard time relating to art and culture made with contemporary technology is painfully apparent. That they want to remedy this by turning towards the incubator model only shows how desperately regressive they are."



"It is unlikely that any of the artists featured in the exhibitions I mentioned above will be found writing Python code over a cafe midnight at Ritual (unless it’s their day job) because, for the most part, in the ecosystem of the artists I admire who are chasing the meat of art and tech, there couldn’t be three institutions less relevant than New York’s major museums, startup culture and (since I’m barbecuing sacred cows): hacker spaces.

This is not to say that these institutions are inherently evil or bad at what they do, it’s just to say that they are at best not particularly relevant to art production and at worst unintentionally destructive. In all cases this has mostly to do with their formal positions with regards to the dreaded market.

Major museums may wish to have a broad cultural mission and many even succeed on occasion, but they exist largely to condense, wash, clean, process and present the dirty fucked-up art world for preservation and trade. They are in the packaging business. If an artwork appears in MoMA it has been dipped in preservative and the edges have been filed off. This doesn’t mean it isn’t delicious, but Hostess isn’t your neighborhood bakery (which, in any case, is still a business and nothing at all like your grandmother’s home cooking). Museums, while occasionally flying the flag of the freaky creative class, have more in common with financial institutions than artist studios. (Quick: name one heist film that featured burgling a working artist)."



"In the end I don’t want to specifically criticize the New Museum’s venture because I believe it’s a symptom rather than the disease. We have come to believe that art and technology are somehow the same thing, just as we have internalized the idea that creative success and financial success are equivalent.

Art as I know it is messy, complicated, dirty, scary and sharp. It causes problems and fails to measure up and resists categorization. It generates failure. It wastes time and money. It burns through cash and it doesn’t say why.

Museums are archives and represent the endpoint of work, not the wellspring of creativity. If an artwork has solidified out of this primordial state it is not because it represents the “cutting edge” it is because it is finished. As Dave Hickey says: “Whatever happy contingencies fluttered around it disperse, as it departs society and enters “the culture,” where it must necessarily mean less, but to a lot more people. It’s spectator-food, now, scholar-fodder, so you may safely stick a fork in it, tell yourself you’ve won, and go to your room.”

I am not surprised that a major museum as a cultural actor is going to make a safe bet, in particular with regards to technology-based works which are notoriously risky and problematic as art objects. (“It worked five minutes ago” doesn’t fly well among preservationists or collectors). That most of the highly visible contemporary art and technology works currently being displayed are repeatable (if shallow) spectacles is not a major revelation, but it bears a hard look.

It bothers me that the last time I visited the New Museum I ducked into their auxiliary space to be confronted by Nathalie Djurbeg and Hans Berg’s delightfully weird Bird Parade. This was an artist and musician I had never heard of before, and I stayed until the guards kicked me out. Next time, a visit to the same space will require an NDA and likely revealing nothing more interesting than a bunch of white dudes pounding keyboards and energy drinks.

"It bothers me that the notion of artistic risk has been so de-fanged that it can be expressed only in terms of market risk (Serrano’s 1989 Piss Christ was both far more daring and far more beautiful than wasting series A funding, no matter how hot your photo sharing ap might be).

It bothers me that we even consider business strategy as a replacement for encouraging art production. I don’t anticipate the return of public arts funding for individual artists in the United States, but in a world of crowd funding filled with the likes of Kickstarter and Indiegogo and Bandcamp what the art world, (and in particular the art and tech field) needs are a lot fewer “startup incubators” and a lot more Awesome Foundations."

[via: https://twitter.com/matthewward/status/411041722739597313 ]

[See also: http://online.wsj.com/news/articles/SB10001424052702303670804579236523526323820 ]
andrewsempere  inefficiency  newmuseum  davehickey  startupculture  kickstarter  indiegogo  bandcamp  awesomefoundation  2013  art  process  messiness  artproduction  diy  hackerspaces  incubators  culture  culturecreation  waste  time  money  markets  artmarket  finance  juliakaganskiy  artincubators  culturemaking  culturalproduction  andresserrano 
december 2013 by robertogreco
TEMPORARY SERVICES - Non-commercial since 1998
"Experiencing art in the places we inhabit on a daily basis remains a critical concern for us. It helps us move art from a privileged experience to one more directly related to how we live our lives. A variety of people should decide how art is seen and interpreted, rather than continuing to strictly rely on those in power. We move in and out of officially sanctioned spaces for art, keeping one foot in the underground the other in the institution. Staying too long in one or the other isn’t healthy. We are interested in art that takes engaging and empowering forms. We collaborate amongst ourselves and with others, even though this may destabilize how people understand our work."

"AGAINST COMPETITION… GROUP WORK & WORKING WITH OTHERS… BUILDING LONG-TERM INFRASTRUCTURE TO SUPPORT SIMILAR WAYS OF WORKING"

[via: http://www.dismalgarden.org/pages/links.html
now here http://web.archive.org/web/20101029173446/http://www.dismalgarden.org/pages/links.html ]
temporaryservices  leisurearts  artproduction  competition  philadelphia  copenhagen  zines  publishing  marcfischer  salemsollo-julin  brettbloom  unschooling  deschooling  deinstitutionalization  everydaylife  artists  design  community  chicago  collective  activism  art  collaboration  nilsnorman  artleisure 
april 2012 by robertogreco
Episode 253: Nils Norman : Bad at Sports
"Norman founded an experimental space called Poster Studio on Charing Cross Road, London. This space was a collaborative effort with Merlin Carpenter and Dan Mitchell. In 1998 in New York he set up Parasite, together with the artist Andrea Fraser, a collaborative artist led initiative that developed an archive for site-specific projects.

Norman now lives and works in London Copenhagen. He exhibits internationally in commercial galleries, museum, and in public and alternative spaces. He writes articles, designs book covers and posters, collaborates with other artists, teaches and lectures in European and the US. Norman completed a major design project: an 80m pedestrian bridge and two islands for Roskilde Commune in Denmark in 2005 and is now working together with Nicholas Hare Architects on a school playground project for the new Golden Lane Campus, East London. He has recently finished an artist residency at the University of Chicago, Chicago, USA."
dogooderism  academia  careerism  culture  readerbrothers  lauraowens  making  authenticity  values  trust  productivity  production  productionvalue  local  deschooling  unschooling  communities  dinnerparties  supperclubs  formalization  access  creativepractice  contradiction  mfa  lowresidencymfa  purpose  posterstudio  soprah  situationist  culturalspace  privatespaces  publicspace  institutionalization  bohemia  bohemians  cityasclassroom  cities  gentrification  josefstrau  stephandillemuth  economics  neoliberalism  richardflorida  socialpractice  denmark  chicago  site-specificprojects  roskildecommune  collaboration  arteducation  education  2010  artproduction  nilsnorman  colinward  explodingschool  artists  interviews  art 
april 2012 by robertogreco

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