Hi Jaromil et al Nicely said and exactly what matters
The artificially maintained divide between 'public' and 'private' are the lines these conflicts are expressed in For me as an artist the most horrible reactions towards my works are always the misconceptions about its functioning in a social context, for that is exactly what not is needed but almost always wanted as a kind of socially build in reflex, which is grounded on nothing but make believe and cultural determined behavioral attitudes So my mental exile is based upon a very individual approach towards my own production, whereas I intend to build upon a 'common' understanding of their workings both 'public' and 'private' Communistic art, communist art, communal art? I tend to reorient towards the 'interbellum', form last century, when people like Brecht and Weil, Tucholkski, Heartfield, Kokoschka, Eisler etc etc were trying to develop exactly that: a common understanding and a common, open form of art disconnected from the economical domain of the rich and the privileged. Andreas Maria Jacobs -- w: http://nictoglobe.com w: http://burgerwaanzin.nl w: http://nictoglobe.com/new/agam e: [email protected] e: [email protected] On Thu, March 10, 2011 12:28, Jaromil wrote: > > re all, > > On Thu, 10 Mar 2011, Maria Chatzichristodoulou wrote: > >> I know certain such organisations, and I'm sure many people on this >> list do so too. Not surprisingly, those are mostly organisations >> that have chosen not to depend on the privileges that institutional >> power systems offer on the first place (i.e. They have chosen to >> forgo public funding). > > this is not exactly the point i intended to make. look around and > you'll notice none of the two are missing from our lifes: nor art in > public space, or art in private space. > > what is really lacking is art in common space. > > sure, we can continue along the lines of a now centenary strained > relationship (or should we call it civil war?) between the public and > the private, for which the Italian situation is clearly a picture: an > enterpreneur fighting the law system now since 20 years - now lets ask > ourselves, who is really in the middle? who benefits from all this? > > in the various modulations of this conflict, clearly intensifying > since the '80s until nowadays, all cultural productions are either > appropriated by one of those two juggernauts: the private or the > public. the point is not refusing either of them, the point is > refusing of being part of this conflict, that you are inside or > outside, the point is to refuse to operate the constant prevarication > which is the main condition of this conflict: dressing up anything > that is not public or private in a well designed straitjacket. > > the wild (private) or controlled (public) yet inesorable enclosure of > the commons is a crucial problem. it might be too late when we'll wake > up from our decadence in Europe and realize that people need to grow, > build, drink and paint without any authorization - and i'll stop here > since i can clearly read the terror on the faces of all those > designers watching something that is there, alive and *undesigned*. > > ciao > > > ______________________________________________ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre > ______________________________________________ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
