Saul Albert on Sun, 27 Apr 2014 00:48:28 +0200 (CEST) |
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Re: <nettime> In Art we Trust |
Hi David, On 25 April 2014 16:01, d.garcia <d.garcia@new-tactical-research.co.uk> wrote: > In Art We Trust The trick KRB seem to be pulling off (whether Peperkamp knows it or not) is to subordinate the ostensible artistic value of the coins as artwork/commodities to the conceptual artistic value of the KRB enterprise. As you point out, the success of that enterprise is premised on (and in some ways subordinate to) its successful relationship with a broader art market. Warhol would have been into that. As I understand it these days, not-just-art was a way of thinking about art that is at least potentially a universal signifier of value because its social uses are maximally unconstrained by fixed properties (either ostensibly intrinsic objective ones or ostensibly extrinsic societal ones). Even more so than money, not-just-art (or generalised aesthetic value attribution) becomes a universal signifier because it doesn't require the apparatus of currency and capital that the KRB project is emulating. What it does require is that it involves forms of social exchange and organisation that engage critically with the normative structures of culture: i.e. that pose reflective questions about how we - as individuals and groups - attribute value and make choices. In this sense it's a Kantian thing: it tests the boundaries of our freedoms to perceive, judge and act at the boundaries of the subjective and the universal. So to me the project seems to do this job as long as the coins are circulating in the market while the KRB project circulates through the ongoing discourse you're contributing to by publishing this article. Am I right that you're pointing out the weakness of the currency component without the conceptual framing of the KRB project? That the intrinsic value, like a gold-backed-currency, depends on antiquated but persistent value attributions? If so, I'm not sure your critique is really fair. The artist-object / conceptual author-discourse dichotomy of the project and the somewhat exploitative/naive relationship between them implied in the way you quote Peperkamp's capricious selection criteria - taken together - seem consistent enough with the trick they're pulling off to make Warhol proud. What would this project do/be if it were going to do/be more than 'just art'? Thanks again, Saul. # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mx.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nettime@kein.org