CONFÉRENCES EN ART CONTEMPORAIN
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L'esthétique de la résistance

Reactions comme "Nobody asked you to be an Artist", "It's your choice", "Your decision to make art out of yourself", et encore, "Go back to school and be a lawyer, stop using public funds and make money!", "qu'est-ce que tu fais dans vie?", "tu vis de quoi?", demeure une critique de la liberté de l'artiste en marge avec sa communauté, une image du social et des possibilités et impossibilités, face à la performance comme nouveau mode de domination dans le monde du travail.

Le mandat de l'artiste dans son rapport à la société n'est pas différent. Il suffit de regarder les titres de certaines des dernières grandes expositions internationales, des biennales, pour s'apercevoir de ce désir qu'ont les organisateurs de positionner l'engagement et le social dans le pratique. En tant qu'événement à la recherche d'un idéal de liberté, ces productions renferment aussi des politiques de dominance et de contrôle. Il semble que la pratique ait automatiquement un rôle à jouer dans la société, peu importe si l'exposition est efficace pour un tel engagement.

Inversement, ces événements présupposent des pratiques de résistance aux fonctionnements de l'économie. Ils connaissent l'influence des mécanismes de contrôle et de domination en tant qu'importantes institutions à la diffusion de la nouveauté, de la radicalité, et sont les emphases artistiques dominantes aujourd'hui. Cette pratique du social et de l'engagement s'expliquent sans doute par l'académie comme langage par défaut d'une professionnalisation de l'art et de l'économie.

Initier une pratique professionnelle basée sur la conscience des nécessités d'une production de la connaissance globale est prendre part à une esthétique de la résistance. Car tel est le motif de mes conférences, il est de présenter en tant qu'échecs productifs ces zones limites entre l'art et l'économie. Il fait ainsi de la production de la connaissance une structure critique et cet engagement de l'artiste des idées structurantes, c'est-à-dire un professionnel.

Autrement, une esthétique de la résistance naît d'un rapport de dépendance, de domination et de contrôle face aux pressions du social, d'où l'idée d'engagement. Une ville sans argent équivaut à une architecture sans bâtiments. On ne peut habiter la ville sans argent, sans une économie. Les crises psychologiques - l'hystérie, la paranoïa, le développement envahissant de maladies, burnout - se saisissent aujourd'hui tel un mur postmoderne, acceptable, en tant que personalité fragile, un faible, un looser. So? You perform to proof yourself, and to do so, you need to be available anytime. Otherwise, as Donald Trump would say: "You're Fired!".

Dans ma conférence, par la performance, je mettrai de l'avant ces pratiques artistiques pour une libération de politiques de l'économie. Ces enjeux sont élaborés depuis plusieurs philosophes et critiques d'art, mais je porterai une attention particulière de ceux de la Unitednationplaza. Cet organe pour la connaissance est une idée de l'artiste Anton Vidokle, fondateur de e-Flux avec Julieta Aranda.

Mes recherches personnelles porteront ainsi sur l'annulation de la Manifesta 6.

 

 

CONFERENCES IN CONTEMPORARY ART
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Aesthetics of Resistance

Reactions like "Nobody asked you to be an artist", "It's your choice" and "It was your decision to make yourself an artist", or even "Go back to school and be a lawyer, stop using public funds and make some money!", "What do you do again?" and "How do you make a living ?" still contain as a critic an image of freedom toward its community, a social image of possibilities and impossibilities, facing performance as the new prevalent mode of labour.

The mandate of the artist as it relates to society is no different. It’s enough to look at the titles of certain recent international exhibitions and biennales to realize that organizers want to build social responsibility into artistic practice. However, as events seeking an ideal of freedom, these international contemporary art productions also contain the nihilistic politics of dominance and structure. It seems as if artistic practice has now, by default, been given a role to play in society, regardless of whether or not an exhibition is the best means for expressing that engagement.

Conversely, these events presuppose practices of resistance against the workings of the economy. They have been influenced by the mechanisms of control and domination because they are organized by important institutions that promote what is new and radical, regardless of dominant artistic trends. These concepts of social engagement are undoubtedly explained by academic language, which is, by default, a vehicle for the professionalization of art and of the economy.

Initiating a professional practice based on an awareness of the necessities for a global knowledge production is an being part of an aesthetics of resistance. As this is the main theme of my lecture, I will thus present these fringe zones between art and economics as constructive failures. This approach also positions the production of knowledge as a critical structure, the artist’s engagement as a structural idea and the artist as a professional.

Otherwise, the aesthetics of resistance result from a relationship of dependence, domination and control when dealing with social pressures, and thus the concept of engagement arises. A city with empty coffers is the equivalent of architecture without buildings. We cannot live in a city that has no money, no economy. In today’s world, psychological crises – hysteria, paranoia, the proliferation of sickness, burnouts – are understood as part of a postmodern life, perfectly acceptable for fragile personalities, weaklings, losers. So? You perform to prove yourself, and to do so, you need to be available anytime. Otherwise, as Donald Trump would say, "You're fired!”

In my lecture, through performance, I will put forth artistic practices that are free from the politics of the economy. My ideas will be elaborated using various philosophies and approaches to art criticism, but with particular focus on the ideas of Unitednationplaza. This think tank is the creation of Anton Vidokle, co-founder of e-Flux, with Julieta Aranda.

My personal research also touches on the cancellation of Manifesta 6.


CONFERENCE DATES :
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ESTONIE_ESTONIA
M6 EXAM: Exhibition/Residency as A School - The Kontainer Gallery
with The Polymer Residency Program, Tallinn, Estonia, August 15th - September 15th 2011

FINLANDE_FINLAND
LAPSody - The 3rd International Conference & Festival for Live Art and Performance Studies at the Theatre Academy Helsinki, Finland, June 7th-12th 2011

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Photo: Ville_City of New York, 2011

Occupying the diminutive (25 feet wide by 81 feet deep) mid-block site of the Austrian Cultural Forum’s former townhouse, the new building rises to a 24-story height with the authority of a landmark, expressing the contextual relevance of both the architecture and the Forum’s mission to connect European and American creative visions.
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MANIFESTA 6 - LES 12 TEXTES
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01-Mai Abu ElDahab, On How to Fall With Grace—or Fall Flat on Your Face, Notes for an Art School, 6 pages

02-Anton Vidokle, Exhibition as School in a Divided City, Notes for an Art School, 6 pages

03-Florian Waldvogel, Each One Teach One: Adorno's "Thinking is action, theory is a form of practice", Notes for an Art School, 10 pages

04-Babak Afrassiabi & Nasrin Tabatabai, Practice of Indecisiveness, Notes for an Art School, 3 pages

05-Julie Ault & Martin Beck, Drawing Out & Leading Forth, Notes for an Art School, 8 pages

06-Liam Gillick, Denial & Function, A history of disengagement in relation to teaching, Notes for an Art School, 5 pages

07-Walid Sadek, A Room With a Conversation in the Middle, Notes for an Art School, 5 pages

08-A Conversation Between Boris Groys & Anton Vidokle, Art Beyond the Art Market, Notes for an Art School, 7 pages

09-Jan Verwoert, School’s Out!-?, Arguments to challenge or defend the institutional boundaries of the academy, Notes for an Art School, 8 pages

10-Olaf Metzel, SayNoProduction, Notes for an Art School, 7 pages

11-Haris Pellapaisiotis, Speaking Thoughts:On an Art School, Notes for an Art School, 8 pages

12-An Interview with Tobias Rehberger by Mai Abu ElDahab, Kitsch, Destruction & Education (An extract from a conversation between Tobias Rehberger and Mai Abu ElDahab in the kitchen of Rehberger’s Frankfurt home on 6 November, 2005. Rehberger is a full-time teacher at the Staatliche Hochschule f ür Bildendew Künste (Staedelschule) in Frankfurt am Main, where he himself was once a student.), Notes for an Art School, 8 pages

MANIFESTA 6 - THE 12 TEXTS
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01-Mai Abu ElDahab, On How to Fall With Grace—or Fall Flat on Your Face, Notes for an Art School, 6 pages

02-Anton Vidokle, Exhibition as School in a Divided City, Notes for an Art School, 6 pages

03-Florian Waldvogel, Each One Teach One: Adorno's "Thinking is action, theory is a form of practice", Notes for an Art School, 10 pages

04-Babak Afrassiabi & Nasrin Tabatabai, Practice of Indecisiveness, Notes for an Art School, 3 pages

05-Julie Ault & Martin Beck, Drawing Out & Leading Forth, Notes for an Art School, 8 pages

06-Liam Gillick, Denial & Function, A history of disengagement in relation to teaching, Notes for an Art School, 5 pages

07-Walid Sadek, A Room With a Conversation in the Middle, Notes for an Art School, 5 pages

08-A Conversation Between Boris Groys & Anton Vidokle, Art Beyond the Art Market, Notes for an Art School, 7 pages

09-Jan Verwoert, School’s Out!-?, Arguments to challenge or defend the institutional boundaries of the academy, Notes for an Art School, 8 pages

10-Olaf Metzel, SayNoProduction, Notes for an Art School, 7 pages

11-Haris Pellapaisiotis, Speaking Thoughts:On an Art School, Notes for an Art School, 8 pages

12-An Interview with Tobias Rehberger by Mai Abu ElDahab, Kitsch, Destruction & Education (An extract from a conversation between Tobias Rehberger and Mai Abu ElDahab in the kitchen of Rehberger’s Frankfurt home on 6 November, 2005. Rehberger is a full-time teacher at the Staatliche Hochschule f ür Bildendew Künste (Staedelschule) in Frankfurt am Main, where he himself was once a student.), Notes for an Art School, 8 pages

DOCUMENTATION
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byAnalogy
Mandat_Mandate
Pour situer une idée de l’art_To situate an idea of art

byAnalogy Collaborateurs_Collaborators and Art Supporters
Vanessa Gerold, marketing (New York, Paris et Montréal)
Adriana Palanca, traduction_translation (Montréal)
Carter Goodwin, consultant (New York)

byAnalogy Développement_Development
Sylvain Breton (Montréal)

byAnalogy
Partenaires_Partners
(M6 EXAM: Exhibition/Residency as a School)
KUNSTIKONTEINER - Kultuuritehas Polymer/Art Container
Madara 22/Ülase 16
Tallinn, 10613, EESTI
(Estonie_Estonia)

byAnalogy Institutions
MTÜ Kunstikonteinersupported
Estonian Ministry of Culture
Cultural Endowment of Estonia

byAnalogy Informations
info[at]byanalogy[dot]org
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Dernière mise à jour_Last edited : 6 mai_May 2011
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