"Radicant" reading assignment 2/22

China 9, Liberty 37 (2008) video still: Sarah Morris

What doest essay “Post-Production” mean to you? How does this affect your (view) of your work?

I have been steeped and shackled in a 20th century modernist paradigm and I am happy to have my mind opened up by reading Bourriaud’s: "Postproduction" and "Radicant." I am becoming aware of a whole range of exciting new art practices and artists that are changing my thinking/understanding about contemporary art and will no doubt affect my artwork.

FUNDOLLAR

QUESTIONS/THOUGHTS:

If we are in the middle of an historical transition, how accurately can we deconstruct a transition? Even with the advents of linear movements haven’t trends in the arts and fashion in fact always been cyclical rather than linear?

Stadia II, Julie Mehretu (2004)

Translation and codes preserve” ancient particularities” on the road to extinction in the face of globalization. Is Bourriaud saying that it lies on the artist in his/her culture, time and space to preserve their cultural aesthetic in the face of Globalization?

Ivan the Fool House, Tsuyoshi Ozawa (2003)

If Hollywood films “no longer bear witness to the way people live” and, according to Bourriaud, there is a reversal in the roles of art and cinema, could that be one of the reasons why contemporary art has become more involved with postproduction art than production art?

Upside Down Mushroom Room: Carsten Holler (2000)

What does it mean to be from a country; but what does it mean to be Mexican in Germany or American in Japan? These questions resonate with me. Travel and relocation are becoming more common and cultures are mixing it up. The term “Creolization” was used in our readings. In the world today, there are more people speaking English who are not native speakers than there are native speakers. Many of these people have learned English from non-native speakers! This phenomenon is happening with the language of aesthetics as well.

In Modernism there is always a passion for “beginning”. The “new” becomes aesthetic criterion in its own right. Isn’t this a very existential concept? “Novelty is no longer a criterion for judging works of art.” Bourriaud