Selasa, 31 Juli 2007

Public art


Leon Reid IV in São Paulo.

Idea: the beauty of art in public is that art cannot be public. Art is necessarily private, intimate, as any experience (yes, also the so-called "group experience"). So art that is out there, when it's good, makes contact also because it creates a special, intimate zone where the public regains its human dimensions.
And yes, to answer your question, I am tempted to think this applies to any public art, of any size and in any context.

(Leon Reid IV via)

Senin, 30 Juli 2007

Experiencing Bergman

I was full of doubts. I had never been to the cinema to see a Bergman. Tried watching Persona on TV, and I don't recall where and when exactly I was severely disappointed by the Seventh Seal.
Saraband was to be my first real Bergman experience. The film was publicized as extremely slow and extremely beautiful and true - "yet another Bergman classic". I am allergic to film classics. I went to see it on the same principle as I read Hegel and Heidegger - to make sure I know why I don't like it.
I went with a couple of my friends, we were having a great time all day.
The film has a horrible poster of an elderly couple embracing. He has an old sweater, looks filthy, they are both as serious as any Nordic film couple should be. I figured this was one of Bergman's last films.
The experience was stunning. It certainly isn't a classic - thank God. It has a total simplicity about it which only apparently puts it in the bourgeois linage of Strindbergs and other Ibsens. Actually, it's much more delicate, sensitive, it does not play out any scandal (which I am very tired of), only shows how relations between people evolve.
There isn't much more, really. Yet it is the proportions, the subtle movements of the plot, that won me over. I found myself with a sort of enthusiastic empathy for the characters that I didn't know I could have. Yes, it's the artistic containment. But it is also the not-overdoing-it. The getting to what makes up a person.
What impressed me most was that I didn't find any of the annoying symbolism of Persona. There is no need for metaphysics if you look carefully enough into what is in front of you.
Saraband was Bergman's last film.

I have heard an anecdote about Bergman's severe approach to moviemaking: during one of the shootings, his cinematographer's mother fell very ill and was said to be dying. The cinematographer wanted to go. Bergman looked at his long-time, faithful collaborator and said: "If you leave now, you son of a bitch, you can never come back!".
I don't know which film they were supposed to be shooting. But it simply couldn't have been Saraband.



Minggu, 29 Juli 2007

Doing the right thing for art




Fragments of Richard Jackson's installations.

Parantheses from Barthes' Camera Lucida (1&2)

1.
(1852)
(this is how life is made up of small solitudes)
2.
(one needs to classify, to group, if one wants to constitute a corpus)
(Professional/Amateur)
(Landscapes/Objects/Portraits/Nudes)
(Realism/Pictoralism)
(if it exists)
(a certain photo and not the Photo)
(spoken out)
(from what it represents)
(which happens in the case of any other image, charged since the beginning and by principle with the mode in which the object is simulated)
(professionals can)
(out of commodity it is necessary to accept this universal which, at the moment, only sends us towards the tireless repetition of contingency)
(I believe the sharks, according to Michelet)
(I didn't know yet that out of this stuborness of the referent in being always present would appear the essence of what I was looking for)
(there is no photography without something or someone)
(to take pictures of)
(the voice of science)


all the parantheses from chapters 1 & 2 of Camera Lucidaby Roland Barthes (my translation)

Rabu, 25 Juli 2007

Vik Muniz : how much cool is too much?

This is pretty.
Aesthetic experience, yes. Or maybe just a hint of a possible one? How is one to distinguish?



Here is Brasilian artist Vik Muniz presenting his work to an American, non-artistic audience. Notice how technically sophisticated the presentation is. And how the classic dynamic of informal intro - funny bits - thoughtful part - witty ending is well executed. You can clearly see he worked in advertising - he knows how to sell his product. Also, notice what impresses the audience: the technique, the means. The sugar drawings. You did this with sugar?
What's wrong with that picture? What makes it sound like a trick and not like something "creative", in the sense of our dear old contemporary art? Maybe because what is appreciated, in the case of this audience, is mainly 1) skill, and 2) wit. So why is that not enough? Maybe because we tend to dismiss it as having more to do with craftsmanship than with art. But is it really so? The sugar drawings are of kids who work on sugar cane plantations. Still not enough. Something too easy about it, too directly linking two worlds, not letting us travel far enough?
Entertainment. That's what disturbs the artsy eye. He aims to please. He makes his own art look like a fun adventure, not a serious, deep labor. From time to time, he sends a message to the more attentive viewer, but mainly it's just, well, cool.
But an attentive viewer will see there is a lot in there. There are delicious (sorry, I couldn't resist myself) approaches to contemporary art, and some pretty effective dialog undertaken (the dust reproductions, but see also the pigment ones). Effective. Effect. Material. Fluffy little clouds of cotton. Happy. Too happy? Is too happy not contemporary enough? Or is it that sugar is, well, simple, limited? And chocolate, too... Unless, of course, you are Bobby Baker. But maybe, as in Bobby Baker's case, this is to be taken to another level? (The people at PS1 certainly think so)

My favorite part, as you might guess, is at the end, when he speaks about theater and about illusion: "It's not really about impressing, or making people fall for a really perfect illusion, as much as it is...about giving somebody a measure of their own belief, how much they want to be fooled".


You may also want to see Muniz's erotica (made of Silly Putty), although I don't find it particularly attractive.

Senin, 23 Juli 2007

Art > > framing


photo by Jindrich Marco (via)

I get a sense (...) that somehow I trade majorly in comical irrelevance and apparent digression. Narrators/voices that are never really getting to the point, or who are straying from the point very often and as far as possible. Also the totally irrelevant fact from the background pulled out as preposterous foreground. Makes me think (on a tangent) of that description of movie extras (or is it scenery painters?) - as 'background artists'. Manipulation of background. As if foreground were (is in fact) only ever an excuse for what you are *really* doing, elsewhere.


Tim Etchells, on his excellent (and bloggaly self-centered) blog

The White Desk


by Benoit Lemoine & Cecile Boche