ASRL / PERPETUAL 2014
 
An Artist Meets a Composer at a Party...
By Maria Goldverg
posted: 11-29-11
Igor Stravinsky holds a negative print of Mozart
Image Source


For those interested in collecting trivia, Marcel Duchamp met composer Igor Stravinsky at a party in New York in 1966. As they parted, Duchamp turned to Stravinsky and said:

"Maestro, see you in another 50 years."

...Source
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Huang Yong Ping and Xiamen Dada
By Julia Borden
posted: 11-28-11
Huang Yong Ping, Four Paintings Created According to Random Instructions and Wheel (two separate paintings)
Image Source


Huang Yong Ping was one of the founding members of the Chinese Xiamen Dada group, inaugurated in 1986 with a series of provocative group exhibitions. Members of the group had accumulated bits of knowledge about the original Dada movement from miscellaneous books and magazines that could be found in the island city of Xiamen. Huang Yong Ping and his friends felt an immediate kinship with the past movement and decided to integrate a number of Dadaist principles, in addition to its name, into their practice. The cultural reforms that began in China during the 1980s asserted a sort of prescribed teleology onto the Chinese populace—the divide between the dreadful past and the glorious future allowed no room for the present, which was left to tangle with the vicissitudes of its situation without help. This backdrop naturally found itself reflected by progressive artists in binary themes that contrasted substance / / nothingness and fate / / chance. As Hou Hanru writes in "Change is the Rule" (2005), implementing these themes permitted the Xiamen Dadaists to "transgress the linear order of things, which is the very core of established modernist culture and is also central to the capitalist and socialist reforms that helped reshape the political, social, economic, and cultural landscape in China in the 1980s." (1)

Huang Yong Ping's paintings centered on chance, including "Four Paintings Created According to Random Instructions" (1985), epitomize the Xiamen Dadaists' relinquishment of the notions of artistic substance. Though these paintings are in no way meaningless, the fact that they accrue significance through chance rather than through a series of fateful artistic decisions subverts their true implications. As Huang Yong Ping himself writes in "Xiamen Dada and Chan Buddhism" from 1986-1988, "this means that the artist abandons his false noble image, competition and innovation, and the standard of value." (2) The application of chance in art, as Duchamp and the other original Dadaists well knew, allows both everything and nothing to be a work of art. Ping, who integrates traditional Chinese texts and concepts such as the I Ching and Chan (Zen) Buddhism into his works, illustrates this truth by stating that "Chan Buddhism sees a wooden statue of Sakyamuni both as Buddha and as a piece of firewood. As "Buddha," so as to connect with the living world; as "wood," so as to go beyond it. At this point, "Buddha" and &qupt;art" exist only as an unchangeable meaning in the living world." (3)

Please consider this while looking at the Huang Yong Ping's Four Paintings Created According to Random Instructions, which were executed according to instructions printed on the roulette wheel that you can see in the foreground.

(1) http://visualarts.walkerart.org/oracles/details.wac?id=2232&title=Writings
(2) http://visualarts.walkerart.org/oracles/details.wac?id=2469&title=Writings
(3) ibid.

...Source
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Huang Yong Ping and Xiamen Dada
By Julia Borden
posted: 11-25-11
Huang Yong Ping, Four Paintings Created According to Random Instructions and Wheel
Image Source

 

Huang Yong Ping was one of the founding members of the Chinese Xiamen Dada group, inaugurated in 1986 with a series of provocative group exhibitions. Members of the group had accumulated bits of knowledge about the original Dada movement from miscellaneous books and magazines that could be found in the island city of Xiamen. Huang Yong Ping and his friends felt an immediate kinship with the past movement and decided to integrate a number of Dadaist principles, in addition to its name, into their practice. The cultural reforms that began in China during the 1980s asserted a sort of prescribed teleology onto the Chinese populace – the divide between the dreadful past and the glorious future allowed no room for the present, which was left to tangle with the vicissitudes of its situation unassisted. This backdrop naturally found itself reflected by progressive artists in binary themes that contrasted substance / / nothingness and fate / / chance. As Hou Hanru writes in “Change is the Rule” (2005), implementing these themes permitted the Xiamen Dadaists to “transgress the linear order of things, which is the very core of established modernist culture and is also central to the capitalist and socialist reforms that helped reshape the political, social, economic, and cultural landscape in China in the 1980s.” (1)
            Huang Yong Ping’s paintings centered on chance, including “Four Paintings Created According to Random Instructions” (1985), epitomize the Xiamen Dadaists’ relinquishment of the notions of artistic substance in their demand for diversity. Though these paintings are in no way meaningless, the fact that they accrue significance through chance rather than through a series of fateful artistic decisions subverts their true implications. As Huang Yong Ping himself writes in “Xiamen Dada and Chan Buddhism” from 1986-1988, “this means that the artist abandons his false noble image, competition and innovation, and the standard of value.” (2) The application of chance in art, as Duchamp and the other original Dadaists well knew, allows both everything and nothing to be a work of art. Ping, who integrates traditional Chinese texts and concepts such as the I Ching and Chan (Zen) Buddhism into his works, illustrates this truth by stating that “Chan Buddhism sees a wooden statue of Sakyamuni both as Buddha and as a piece of firewood. As 'Buddha,' so as to connect with the living world; as 'wood,' so as to go beyond it. At this point, 'Buddha' and 'art' exist only as an unchangeable meaning in the living world.” (3)

            Please consider this while looking at the Huang Yong Ping’s Four Paintings Created According to Random Instructions, which were executed according to instructions printed on the roulette wheel (Wheel) that you can see in the foreground. 

 

(1) http://visualarts.walkerart.org/oracles/details.wac?id=2232&title=Writings

(2) http://visualarts.walkerart.org/oracles/details.wac?id=2469&title=Writings

(3) ibid.

...Source
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John Cage's music for Marcel Duchamp
By Lucy Li
posted: 11-17-11
John Cage-ian sheet music
Image Source
If anyone can be called the Duchamp of the music world, it's probably John Cage. As the grandfather of avant garde music, he pioneered irregular meter, indeterminacy and unconventional use of musical instruments. In 1947, he composed "Music for Marcel Duchamp", and we have a performance of it in the link below. The unpredictable structure and radical selection of tones definitely echo Duchamp's sensibilities, have a listen and determine for yourself whether or not Cage's piece lives up to its title. http://www.youtube.com/watch?v=GMP6aAMatj8 ...Source
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The Perfect Punch Line...
By Maria Goldverg
posted: 11-14-11
Marcel Duchamp's Nude Descending a Staircase
Image Source

 

In a recent blog entry, visual poet Geoff Huth wrote about the different ways that people come to experience art--when they’re standing directly in front of a painting.  Some of us might like to share every thought we have with our companions and devote long minutes to each and every piece on display.  And, others of us might prefer to silently ghost about the gallery floor, gliding from one room into another, never stopping for more than a few crucial moments before any single work of art. 

If you’ve ever been fortunate to experience that pinnacle of romantic fantasy belonging to the cultural savants of New York who happen to still be single and meet the perfect stranger at an exhibition opening, chances are you’ve found that his (or her) personal art appreciation ‘style’ is all too often irreconcilably different from yours.  But there is no reason to get discouraged, because maybe one day, just maybe, another Duchamp enthusiast in MoMA might turn to you and quip:


“What’s it called when the Cubist girlfriend knocks off her partner’s toupee during intercourse?  Nude up-ending a hairpiece!”

...Source
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