.
http://www.plus.el-estudio.net/harte/arspublica0307.html
ARS PUBLICA Ana Buigues´ report. March 27th, 2007.
What follows is the curators report on the development of the Ars Publica
project http://www.arspublica.noemata.net/
based on the theoretical context for the ¨raison d´être¨ of this net.art
project.
The inception of the Ars Publica project started in the second half of 2005,
when we, the Ars Publica team, in view of the lack of a painstaking study about
the art market from the artists´ point of view, felt the need to fill this void
through the realization of a study that would include art theory and case
studies in a project that would be a combination between an academic article
and an art project. After NKR (Norsk Kulturråd - Arts Council Norway) approved
our application and granted us financial support in January 2006, via the
Kunst og ny teknologi fond (Art and Technology Fund), we were able to conduct
most part of the research. Bjørn Magnhildøen as net.artist and programmer
established the ¨physical¨[1] point of departure - the Ars Publica web site,
which includes the net art sale exhibition, the library and the museum. Thanks
to Magnhildøen´s technical implementation of the dynamics of electronic
commerce the Ars Publica web site is completely prepared for the interaction
with the public and customers.
Until now we have focused on the general public front, having collected records
about the responses obtained from the public who accessed Ars Publica from the
Internet, as well as from a few off line performances, as Magnhildøen explains
in his report of the project:
http://arspublica.noemata.net/blog/2007/04/rapport-ars-publica-42007.html.
In the next months we will concentrate on the marketing of our
project on the elitist front: established art and culture institutions. We are
presently working on the design of CDs and DVDs to be distributed to world wide
libraries, museums, and universities. The contents of the CDs and DVDs will
consist of a version of the Ars Publica project accompanied by a critical essay
written by the curator, Ana Buigues, contextualizing this art project. The
essay is still under development and what follows are excerpts from some of its
sections. The entire text will be published in the Ars Publica web site as
soon as it is completed.
Ars Publica : The Art Market and Corporate Parody
-----------------------------------------------------------
The tradition of corporate parody in conceptual art and literature, includes,
among others, the works of General Idea, Yves Klein, and Robert Morris with
pieces about monetary value of art, or Hans Haacke's interventions in social
economy, like the series of Manhattan Real Estate Holdings, 1971 -- as well as
his collaboration with Bourdieu, in the dialogue Libre-échange, 1994.
Ars Publica basically is a commentary on the paradox that while art constitutes
another type of production to be commercialized, the financial situation in
which most artists encounter themselves, is due to a sub-paradox that responds
on the one hand to the irrelevant socio-economic value generally associated
with art; and on the other hand with the elitist channels of art
commercialization. Artworks have come to be considered consumer goods and, as
such, depend on the laws of offer and demand, functioning within free-market
structures based on price competition. However, perhaps these principles
cannot always be applied to the world of culture and art, and instead of a
growing 'cultural industry' closely linked to the 'art market,' what artists
might rather need is certain protection from the State, since there are some
activities which cannot be measured solely by the economic benefit they
generate. Neither can the value of a specific artist be determined solely by
the prices previously paid for her/his works, or by the promotion art dealers
and art critics attach to a certain type of art or artist (based on both their
economic self interest and personal preferences, which, in turn, may also be
linked to their connections to the art market).
The project Ars Publica is a mélange of interventions within social networks:
what we know as situationism, urban art/action, political protest, performance,
and net.art, with an emphasis on the economies of [artistic] loss and
[economic] profit. The foundations of Situationism, and Fluxus will present the
existing analogies among the Internet networks, urban zones, and social
structures that mediate our perception of the world, and how they can be
challenged through certain actions and interventions. The Baudrillardian
concepts of simulacrum and spectacle, are also included here to deal with the
distorted, and accommodated messages transmitted by the media, and in this case
through the Internet, and how it has fulfilled the needs for the consumers of a
society of spectacle and entertainment. As it is known, the Situationist
International (SI), formed in 1957 and leaded by Guy Debord and Asger Jorn's
were a group of artists and political theorists, with a Marxist and anarchist
ideology, who rebelled against bourgeois societly values, in line with the
traditions of Dada, Surrealism, CoBrA, and Fluxus. They were strongly opposed
to a growing consummerist society and their artistic statements commented on
concepts of art production and trade. Some of their actions included attacks
to established art circles and academies.[2]
Ars Publica : Art + Technology = Public Domain
----------------------------------------------
In 1968 Barthes theorized the elimination of the author as the ultimate
creator. An effect of this theorizing has been to assign a new, protagonist
role to the spectator, that depends on the ways that a given spectator
interprets and conceptualizes a given artwork. Walter Benjamins famous
elaboration of the aura surrounding the sacred object and the artwork took as
a positive sign its disintegration. [3] Michel Foucault also took up these
conceptions in a particular way that interests us here, since he emphasized
the operations of power in society. Foucault conceives of the author and
artist-genius as a Romantic myth imbued with patriarchy and elitism. [4] In
his revision of history, he analyses the discourses of power, knowledge, and
truth and their legitimation through social institutions, arguing that
individuals, rather than institutions, can and do transmit certain power and
knowledge to different strata of society. He also suggests that what we call
an "author" varies from period to period according to the social function
assigned to the author.
Ars Publica : net art
------------------------
We must call to mind that while the media has contributed to the spread of
cultural stereotypes, standards of acculturation, consumerist bombarding, and
power centralization, Internet activity continues this legacy on the one hand
(when the Net acts as a mass media tool) and tries to break from it on the
other hand (when activist networks enter the game). The use of the Internet for
political contestation is what is known as hacktivism, in which a hackers
rebellious mentality and activist commitment meet. Again, hackers without
computers existed before, since radical artists have been commenting on social
injustice and art institutions firstly subtly and later more openly, and made
use of either mainstream or underground transmitters for many years. The
Internet contribution to this aspect is higher bandwidth, a complimentary
effect to off line activism, omni directionality and participation. Secondly,
there is the concept of simulacra and e-commerce, advertisement and media, that
also bears some attention, making the critique to capitalism and consumer art
culture more easily 'believable'. The Internet offers a whole new scope and
scale to such strategies, since it constitutes the virtual reality version of
social and economic reality
[1] The word _physical_ is here in quotation marks due to the virtual nature of
a web site, although nowadays the widespread use of the Internet has almost
turned the virtual spaces into physical ones.
[2] The Situationist International (SI) was formed in 1957 as the result of the
merging of the Lettrist International leaded by Guy Debord and Asger Jorn's
International Movement for an Imaginist Bauhaus (IMIB). The situationists
envisioned a somehow 'ideal city' where its inhabitants would have a more
playful, meaningful and just life. They created sketches of their envisioned
city which reminds one of the Utopian Socialists such as Charles Fourier,
Etienne-Louis Boullee, etc. Psychogeography was used to describe the study of
the urban environments effects on the psyche. The situationists produced
psychogeographical reports based on the results of their dérives (drifting).
They saw themselves as abolishing the notion of art as a separate, specialized
activity and transforming it so was part of fabric of everyday life.
Charles Harrison and Paul Wood, "Art and Modern Life," in Art in Theory,
1900-1990, (Cambridge, Massachusetts: Blackwell, 1992) 693-700.
Further reference to other aspects of the situationists, such as de
detournement and 'spectacle' are provided further ahead in this chapter.
[3] German-Jewish philosopher Walter Benjamin (1892-40), working within the
context of the Marxist Frankfurt School envisioned to a certain degree some of
our postmodern cultural and artistic conditions. He provided a model for how
the artist might function politically through changing the forms of artistic
production. In The Author as Producer,1934, he argued that the uniqueness of
the aura of a work of art, would be eliminated and that this would result in a
more democratic consumption of imagery, since until then art appreciation and
ownership were reserved for an elitist public, where art would shift from that
negative theology dependant on the aura, fetish, and ritual, to be based on
politics. Walter Benjamin, The Work of Art in the Age of Mechanical
Reproduction, See Charles Harrison and Paul Wood, Freedom, Responsibility and
Power, in Art in Theory, 1900-1990, (Cambridge, Massachusetts: Blackwell,
1992), 512-519, The Author as Producer, Harrison and Wood, Ibid, 483-488.
[4] Keith. Moxey, The Practice of Theory. Poststructuralism, Cultural Politics,
and Art History. (Ithaca: Cornell University Press, 1994), 56
By Ana Buigues - Curator of Ars Publica
http://www.plus.el-estudio.net/cvw.html
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