If someone was to ask me what the most amazing aspect of art in the 21st century is, I would not be able to answer that in a way that would suffice for the person asking. Just when I have thought that there is nothing new to see, I am introduced to a curator by the name of Hans Ulrich Obrist and artist and poet Stephanie Strickland. Neither of which I have ever heard of before, but that would be through the fault of the writer of this piece. I find myself intrigued by thoughts and quotations of both of these individuals. For Hans Obrist, it is the quote, “I’ve always wanted to make salons for the twenty-first century…” (Sehgal). In the case of Stephanie Strickland’s work, she states that “there is no way to experience a work of eliterature unless a computer is running it—reading it and perhaps also generating it…” (Strickland). It is these concepts that bring it together for discussion.
Obrist stated that “he always wanted to make salons for the 21st century” (Sehgal), and that is exactly what transpoetica does. It creates the discussion of what is art and what is poetry. It is by asking and discussing what is happening in with the “changing technology” (Strickland) that the “exhibit attempts to juxtapose the historic with the new…” (Strickland). Obrist was asked what makes a project operative and his response was, “…the ripple effect. It is about the facilitation of flows, and allowing flows to happen…” (Miessen). It is this ‘flow’ that enables readers like me to her Dragon Logic works. Whether we find her work in print or in the interactive hypermedia formats that link to other mediums or to other works by her (Strickland). This is the flow of the medium and of the curator.
The definition of a Salon is a conversational gathering. Usually involving intellectuals, artists and politicians (Gersh-Nesic). At the Nouspace gallery, these exhibits are intimate where people gather to discuss poets and art and the mediums that they take. It is the passion of the curators that put these exhibits together that bring our communities and artists together, this is the Obrist Effect.
Gersh-Nesic, Beth. Salon. 2016. online. 13 March 2016.
Miessen, Markus. “The Future is a Dog.” Sehgal, Tino. Everyting You Always wanted to know about curating. NY: Sternberg Press, 2011. 26.
Sehgal, Tino. “Foreward.” Everything you always wanted to know about curating. New York, NY: Sternberg Press, 2011. 12.
Strickland, Stephanie. transpoetica. WSUV. Transpoetica. Vancouver, 2014.
The question has been asked “what is contemporary art?” and the answer is “it is art created in this time.” But that can’t be the answer to this question, because time is not stationary. Time is continuously moving forward one second at a time, turning into minutes, then hours, weeks, months and so on. So how does a curator curate art when it is constantly shifting, moving and pulsating. Like the anthropoetry exhibit, the concepts of art are dynamic and the exhibit is showcasing contemporary art for the current time and the artists who create them.
Dieter Roelstraete said, “A work of art encountered as a work of art is an experience, not a statement or an answer to a question. Art is not about something, it is something…” (Filipovic 79). Anthropoetry: modern expressions of the human condition utilizes this methodology. Everything on the home page is leading us to connect with “friendship, love and joy of innovation” before the visitor even gets a chance to view the artists that lie ahead. This exhibition is the “framing of the work the art” (Filipovic 77), and gives the viewer a pedagogical look at art without noticing the approach.
The communication of the artists and the curator are educating the public on different mediums that society can now view as “art”. It isn’t just the means of viewing the gallery that are teaching the public, but it is the topics that are speaking to the new “contemporary art” format. According to Maria Lind, “art does not typically challenge the status quo; it is about enjoyment and judging” (Lind 87). The exhibit challenges the very thought of how we “think about poetry” and the art world.
Art today is “challenging the normative assumptions of the narrative” (Ribas 97). The public and the artists are viewing these works as “curatorial auteurs” (Ribas 96-97). The exhibit may challenge peoples idea of what art is or what poetry is because this is a new medium. But this is the art of “being contemporary” and what may be unacceptable today is welcome in the future. The artwork and processes of today is simply waiting for a new label.
The beauty of the Anthropoetry: modern expressions of the human condition website is that it “pays tribute to the lives of the artwork and the artists” (Eleey 113). As the visitor views the featured page of the authors and works there is a wonderful didactic on each of the artists and their work. To curate the artist’s work for this exhibit the curator “must defy categorization” (Pedrosa 123). Everything can be cataloged, but it is important to follow and tell the stories of the artist and not the curator and to have fun in the process.
Eleey, Peter. “What about Responsibility.” Ten Fundamental things of Curating. Milan: Mousse, 2013. 113-119.
Filipovic, Elena. “what is an exhibition?” Ten Fundamental Questions of Curating. Milan: Mousse Publishing, 2013. 73-81.
Lind, Maria. “Why Mediate Art?” Ten Fundamental Questions of Curating. Milan: Mousse, 2013. 85.
Pedrosa, Adriano. “What is the Process.” Ten Fundamental Questions of Curating. Milan: Mousse, 2013. 123.
Ribas, Joao. “What to do with the contemporary?” Ten Fundamental Questions of Curating. Milan: Mousse, 2013. 95-108.
There has been all kinds of art throughout the centuries. From the Paleolithic art in caves found in France and Spain, the renaissance period, the baroque, the impressionists, the post-impressionists, expressionists, the neoplasticists (De Stijl), cubists, you can’t forget about the times of the Dada and of course pop art. The questions has been “is this art?” But the real question should have been “what is art” or “does the look of art change”. As a society, we do what we know. We know what we see. We are the product of centuries of change and adaptation and learning, each time period building upon the previous. If we are lucky, we appreciate the past so we can expand on it to build the future. The look of art is changing. It is not dead, it is merely expanding to include the freedom of choice to decide for ourselves what art really is.
The basis of Hegel is that “for art to be art, it must be free. The main content of art is freedom” (Froeb). Through advancements in technology, artists are now able to create art digitally. Game changers is one of these sites. The art is not on canvas, it is not statues made of marble, and it is not static. This art moves and is interactive, it is engaging society. This “art is the world talking back” (Hoffman). The internet and the web page is the new forum for creation. Each placement of the tiles tells a story, but like any art it is subjective. Technology advances and propels the digital artists even further into the unknown. Art is not dying, it is simply adapting to include the marginalized of the art world.
George O’Keefe and her painting of lilies, Jackson Pollock and his drip paintings, and the hundreds of artists that participate in burning man’s interactive art show. Society recognizes these people as artists today, the work and the time, the colors and the emotions. Art is evolutionary, it is constant in its growth and interpretation, and it is forever changing. The Game changers website is art within art, it is the natural progression of technology, talent and freedom of expression.
Froeb, Kai. Hegel FAQ. 2000-2004. Internet. 29 January 2016. <http://www.hegel.net/en/faq.html>.
Hoffman, Jens. Ten Fundamental Questions of Curating. Milan: Mouse Publishing, 2013.
Have you ever seen that movie, “Must Love Dogs?” Well, my life in no way resembles that movie, except maybe the love dogs part. On top of these three, we also have cats in our house, four to be exact. which is three to many. Oh and I can’t leave out the love bird who we rescued a few years ago.
Rest assured, we never have a quiet time in our house. The husky is either chasing the two little dogs trying to play or she is chasing the cats trying to play. The cats on the other hand are either antagonizing the dogs, or they are sitting on top of the bird cage. All of this is of course at 3a.m.
The husky has also taught the two others dogs to talk, except they don’t have that husky talk, they scream at the top of their lungs. This can be alarming for the neighbors, as this is the sound they hear when I get back form school a mere two hours after I left. Now they just say to me “your dogs must really love you” as I laugh and walk very quickly into the house because that is the only thing that will appease them.
I know it sounds hectic and expensive, but they are the best stress relief ever. Even when they are shoving me out of bed.
It’s hard to look at what I have and think, “do I collect these items?” But I’m going to let you in on a secret, I do love a good red wine, even more that I love a good white wine. These are just a few bottles that I have collected over the past year or so.
You might be thinking, “what a strange thing to collect.” But I find that this serves two purposes for me.1) I love the labels (especially the zombie zin), and for others it’s the color of the bottle, be even for some it is because it is the location (San Juan Islands). 2) I can always look at what I have a remember that I really enjoyed that, so let’s buy it again. On the bonus side, you can never go wrong with a good red to cook your ground beef in for spaghetti sauce.