---------------------------- Original Message ---------------------------- Subject: SPECTRE Digest, Vol 88, Issue 1 From: [email protected] Date: Tue, June 1, 2010 11:31 am To: [email protected] --------------------------------------------------------------------------
Message: 4 Date: Tue, 01 Jun 2010 10:31:25 +0200 From: galerija galzenica <[email protected]> Subject: [spectre] Open call for participation in Galery Galzenica's annual program in 2011 It seems that the traditional division between fine and applied arts is still significant. This flexible yet constant dividing line is consistently being drawn even today, when most of the methods we have used so far to make this division are not considered efficient anymore. For example, recognizing different modelling procedures is not sufficient to determine the artistic status of a certain object or product. This also applies to the nature of social activism organized around a well-shaped aesthetic object or event, since political struggle more and more frequently takes place in the cultural sphere. Furthermore, it has never been more difficult to label an object or a phenomenon as art based only on its intertextuality, since the institution of art has become ever more complex, progressively implying a greater number of cultural practices. Following the change in production, the difference between functional and non-functional objects is not as simple as it was at the turn of the 20th century, when, in the wake of the first industrial revolution, an organized struggle was started by artists who actively wanted to participate in making social decisions. Moreover, it has not just become more difficult to determine the line between design and fine arts, but it also seems â as Hal Foster claims in his book âDesign and Crimeâ â that in the recent, so-called post-industrial revolution, almost everything is done according to design principles. Foster claims that this omnipresence of design in contemporary society is the symbol of the triumph of industrial culture which has profited out of the emancipatory projects of avant-garde art. Foster refers to two pioneers of Viennese modernism, Adolf Loos and Karl Kraus, in order to emphasize the necessary distinction between design and art. Paraphrasing Kraus, he claims that a designer transforms art (an urn) into a functional object (chamber pot), while functional modernists transform functional object (chamber pot) into art (urn). Both cases represent totalitarian practices that do not allow for any critical thinking. Foster therefore concludes that, although autonomous art is a modernist illusion, we still need the âfreedom spaceâ which is to be found somewhere between the two extremes. Following this line of thought, we invite you to participate with your works, proposals and curatorial concepts in the process of creating Gallery Galženica's program for 2011. Please send your on-line applications to [email protected] by July 1st, 2010. Based on the received proposals the curators of the gallery (Klaudio Å tefanÄiÄ, Sanja HorvatinÄiÄ and Nina Pisk) will make the program for 2011 which will be announced by July 15th, 2010. -- PuÄko otvoreno uÄiliÅ¡te Velika Gorica GALERIJA GALŽENICA Trg Stjepana RadiÄa 5 HR - 10410 Velika Gorica tel:+385 1 6221 122 / fax: 6226 740 www.galerijagalzenica.info _______________________________________________ SPECTRE mailing list [email protected] http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre End of SPECTRE Digest, Vol 88, Issue 1 ************************************** -- Moldova Young Artists Association "Oberliht" http://www.oberliht.org.md . . . . . . . . . . . http://idash.org/mailman/listinfo/oberlist portal informational pentru arta si cultura din Moldova information gateway for arts and culture from Moldova _______________________________________________ oberlist mailing list [email protected] http://idash.org/mailman/listinfo/oberlist
