Postproduction: culture as screenplay: how art reprograms the world
Nicolas Bourriaud; [editor, Caroline Schneider; translation, Jeanine Herman]
Publisher: New York : Lukas & Sternberg, c2002.
ISBN: 0971119309 DDC: 709.049
https://docs.google.com/viewer?url=http%3A%2F%2Fwww9.georgetown.edu%2Ffaculty%2Firvinem%2Ftheory%2FBourriaud-Postproduction2.pdf
what if the platform, the plinth, becomes the work?
what if we take an AH and put it on a gaudy platform?
why does the plane of the ground have to be flat?
"Post-production refers to a zone of working" - what "PP" would I do to an AH?
" inventing protocols of use for all existing modes of representation and formal structures. It is a matter of seizing all the codes of a culture, all the forms of everyday life, the workds of the global patrimony, and making them function. To learn how to use forms is above all to know how to make them one´s own, to inhabit them." p.12
copy other people.... and learn from this what you need to learn
Sarah Morris, Household gloss on Canvas http://i1.exhibit-e.com/petzel/afc98954.jpg
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjXDUlE9OxjNiUG-d4Fnj8bm3lYhLSjfOBKvyh5MYx1r3x7qljspv2YFjUqt6Q3IKkAatjodStMqrtz1wvv5Zu-dz3p51ZgtNCgUzJqh8nvyx5sxIo63_5_iAYBcJVPp05VxunUpJYcUE/s320/Sarah+Morris+Petzel.jpg
p.17 "The supremacy of cultures of appropriation and the reprocessing of forms calls
for an ethics: to paraphrase Philippe Thomas, artworks belong to
everyone. Contemporary art tends to abolish the ownership of forms,
or in any case to shake up the old jurisprudence. Are we heading
toward a culture that would do away with copyright in favor of a
policy allowing free access to works, a sort of blueprint for a com-
mmunism of forms"
p. 18"The Situationists extolled la derive (or drift), a technique
of navigating through various urban settings as if they were film sets.
These situations, which had to be constructed, were experienced,
ephemeral, and immaterial works, an art of the passing of time resis-
tant to any fixed limitations. Their task was to eradicate, with tools
borrowed from the modern lexicon, the mediocrity of an alienated
everyday life in which the artwork served as a screen, or a consola-
tion, representing nothing other than the materialization of a lack."
p19."Using a remote
control is also production, the timid production of alienated leisure
time: with your finger on the button, you construct a program."
p.20"The quality of a work depends on the trajectory it describes in the cul-
tural landscape. It constructs a linkage between forms, signs, and
images."
p.24 "Citizens of international public space, they tra-
verse these spaces for a set amount of time before adopting new
identities; they are universally exotic. They make the acquaintance of
people of all sorts, the way one might hook up with strangers during
a long trip. That is why one of the formal models of Tiravanija's work
is the airport, a transitional place in which individuals go from boutique
to boutique and from information desk to information desk and join
the temporary micro-communities that gather while waiting to reach
a destination. Tiravanija's works are the accessories and decor of a
planetary scenario, a script in progress whose subject is how to in-
habit the world without residing anywhere."
that's all well and good, but people tend to isolate themselves at airports... forming queues NOT talking to each other...
p26 "Art is the product of a gap."
p.27 "Why not use art to look at the world, rather than stare sullenly at the
forms it presents?"
erm... because it's supposed to be reflecting the world as the artist sees it????
