Jouke KLEEREBEZEM

Who am I / To be an artist (WAITBA)

Who am I / To be an artist is a research project in collaboration with Lectoraat Art & Public Space LAPS,
Gerrit Rietveld Academie Amsterdam

2015-

SOURCES     CONTEXT     AUDIO/VISUALS     KEYWORDS/TAGS


BOOK added 20150217
Radical Artifice; Writing Poetry in the Age of Media by Marjorie Perloff, University of Chicago Press 1991

INTERNET added 20150217
The Philosophical Origins of Digitality: Alexander Galloway interviewed by Manuel Correa in &&& Journal FEED blog, 9 February 2015

MC — Do you think that returning to old-fashioned categories could be seen as an counter progressive political statement?
AG — (...) In considering the forces of promiscuity we must consider them structurally. Networks are promiscuous technologies; they allow things to connect to places they were never supposed to be and to travel into places they were never appropriate for. Promiscuity can be tremendously useful. And certainly it has an important role to play in any critique of morality or puritan self-righteousness. To be more historically specific, the tactics of promiscuity were very important during the 1960s, particularly in trying to break through social repression and to invent new subject positions. However, I think that the usefulness of promiscuity as a structural tactic has finally run its course.”


Subtext by &&&:
“During the last two centuries, art has undergone a mayor reconsideration of its strategies, beliefs and possibilities. With the invention of photography in the 19th century, representation in art had to undergo serious considerations. In more recent times, the internet, coupled with digital technologies, allowed humans to represent the world in ways it was never possible before. In an ever digitizing world, contemporary art remains defiantly offline. Generating interviews with recognized artists, philosophers, collectors, art critics and anthropologists we seek to define the current functions of art and the ways that Contemporary Art (as an identifiable trend in art production, distinct from what the name suggests.) has acknowledged, but mostly refused technology in order to preserve its market dynamics and promulgate the global art biennial format, thus encouraging contemporary art’s role as ‘The symbolic branch of the spreading the western democratic liberal system’.”