ASRL / PERPETUAL 2014
 
Read About Posthastism Post-Haste!
By Maria Goldverg
posted: 11-12-11
Swiss art curator Hans Ulrich Obrist
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There hasn't exactly been a shortage of art movements defined by manifestos that grapple with the role of "speed" in art creation or thought.  Take, for example, the Even Slower Poetry manifesto published on a Blogspot in June, 2009.  Here is a selection:

But what can poetry possibly do to strengthen networks of people involved in the ongoing complexity of getting someone to give a shit about any of this? Well, for one, Even Slower Poetry values communication between author and reader, even when that communication is just the author putting the reader to sleep and then implying he's taken a big risk in doing so. Its strong preference for the personal, the hand-made, the accessible, and anything that I don't have to get off the couch for or think too much about invites broad participation in the idea that potential exchanges in art can be even more excruciating than they were before, esp. when bad sin seems completely thrilling on every level.

What do you do? You let the Even Slower Poetry take care of it, and you let the Even Slower Poetry bless you, and you get on with your life. By your good conduct, you will make ashamed those bringing exciting new things into the world. That is what the Even Slower Poetry Manifesto says and that is the way to do it. If you try to fight it and try to swat down every animated idea or breath of fresh air in the world, I promise you, the world will bring forth a thousand more thrilling and fascinating things. You kill five vibrant ideas and you will have five hundred more.

Even Slower Poetry values tradition, too, as a way of understanding the past and our familial histories. By tradition I don't mean that we must abide by canonical texts established by literary authority, even though I do mean that. Tradition is nothing more than a contested history of the uses of books and objects that have produced active conversations and responses for particular people who question their identification with the world around them. Can you even believe anyone could write a sentence that torpid? JESUS. How did you even get through it?

 

In an interview with Coline Millard, a contemporary curator from Switzerland, Hans Ulrich Orbst (who, incidentally, became obsessed with the confines and potentials of an interview dialogue after reading a a coulple lengthy conversations in his youth, one of which was between Marcel Duchamp and Pierre Cabann)  discussed his own vision for the roles that slowness and speed should play in both art creation and reception:

I'm interested in resisting the homogenization of time: so it's a matter of making it faster and slower. For art, slowness has always been very important. The experience of seeing art slows us down...The beginning of my whole journey was night trains. It's a slow way of travelling and now we are working with Tino [Seghal] and Olafur [Eliasson] on solar airplanes. They fly at a hundred miles an hour, so it would be a little bit like travelling on a night train. Travelling might get slower again, if it's sustainable. All my shows have been conceived on night trains...Somehow that night train rhythm was an idea factory.

 

 

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"Air Art --Marcel Duchamp" by Peter Duggan
By Maria Goldverg
posted: 11-10-11

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This week's Guardian Artoon by Peter Duggan features Marcel Duchamp in the punchline.
We give it five stars here at MarcelDuchamp.net.

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How to find Duchamp in 2666
By Maria Goldverg
posted: 11-09-11
Marcel Duchamp's Unhappy Readymade, 1920 oil on canvas, Suzanne Duchamp
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"The idea, of course, was Duchamp’s.

---

All that exists, or remains, of Duchamp’s stay in Buenos Aires is a ready-made.  Though of course his whole life was a readymade, which was his way of appeasing fate and at the same time sending out signals of distress.  As Calvin Tomkins writes: As a wedding present for his sister Suzanne and his close friend Jean Crotti, who were married in Paris on April 14, 1919, Duchamp instructed the couple by letter to hang a geometry book by strings on the balcony of their apartment so that the wind could ‘go through the book, choose its own problems, turn and tear out the pages.’  Clearly, then, Duchamp wasn’t just playing chess in Buenos Aires.  Tompkins continues: This Unhappy Readymade, as he called it, might strike some newlyweds as an oddly cheerless wedding gift, but Suzanne and Jean carried out Duchamp’s instructions in good spirit; they took a photograph of the open book, dangling in midair (the only existing record of the work, which did not survive its exposure to the elements), and Suzanne later painted a picture of it called Le Readymade malheureux de Marcel.  As Duchamp later told Cabanne, ‘It amused me to bring the idea of happy and unhappy into readymades, and then the rain, the wind, the pages flying, it was an amusing idea.’   I take it back: all Duchamp did while he was in Buenos Aires was play chess.  Yvonne, who was with him, got sick of all his play-science and left for France.  According to Tompkins: Duchamp told one interviewer in later years that he had liked disparaging ‘the seriousness of a book full of principles,’ and suggested to another that, in its exposure to the weather, ‘the treatise seriously got the facts of life.’"

 

Selection from:

Roberto Bolano, 2666, trans. Natasha Wimmer (New York: Farrar Straus & Giroux, 2008), 190-191.

 

 

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"Too Close to Duchamp's Bicycle"
By Maria Goldverg
posted: 11-07-11
Les Liens Invisibles, still from Too close to Duchamp's Bicycle, 2010
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What is Les Liens Invisibles?  Apparently, it is an “imaginary” partnership between a pair of Italian artists, Clemente Pestelli and Gionatan Quintini, who focus on creating net art subversive media based art.  They have been gaining notoriety an exhibition space in places like the Venice Biennale and the New School  in New York, and their work is thought provoking to say the least.  In one email interview, the duo discussed their mistrust of the words of their artistic statement, despite their close allegiance to conceptual work.  They said, “Words are like a funny playground: you can have a lot of fun with them, but, in times of semiotic saturation and media proliferation, you shouldn’t give words too much importance, especially if we are the ones who spoke them.”  Their tone is steeped in the jargon of critical theory: one can’t help but be reminded of Derrida’s discussion of signature and text in the now iconic  “Signature Event Context.”

One of their pieces of internet art should be particularly interesting to readers of this blog.  It’s called “Too close to Duchamp’s Bicycle” and “it’s a poetic declaration about how [they] got too close to Duchamp’s Bicycle.  Go visit it here.” 

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The Maharaja Come to San Francisco
By Maria Goldverg
posted: 11-05-11
Man Ray's photograph of the Maharajah and Maharina from 1930
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When Man Ray photographed the Maharajah Yeshwant Rao Holkar II and his wife the Maharani Sanyogita Devi of Indore, he had to loosen them up by playing them jazz before he could capture their likenesses in the iconic photograph above and in numerous others.  The photograph will be displayed as part of an exhibit at the Asian Art Museum in San Francisco--“Maharaja: The Splendor of India’s Royal Courts”--among over 150 over pieces depicting the splendor and history of the Maharajas rule in India.  It begins with the decline of the Mughal Empire in the 18th century and spans through the centuries in the 20th. 

The show was put together by the Victoria and Albert Museum in London and will be open until April 8, 2012. 

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