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Re: [Nettime-ro] Is It Art? pererea lor part 4
Razvan Ion on Thu, 15 Aug 2002 06:34:24 +0200 (CEST)


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Re: [Nettime-ro] Is It Art? pererea lor part 4


Interesant text.
Va propun tuturor sa vizitati www.c-theory.net Veti gasi multe texte
interesante, inclusiv Paul Virilio, Baudrilard si Kroker.

Razvan

----- Original Message -----
From: "bory" <bory {AT} xmail.com>
To: <nettime-ro {AT} nettime.org>
Sent: Tuesday, August 13, 2002 6:16 PM
Subject: [Nettime-ro] Is It Art? pererea lor part 4



Mult Stimata shi Iubita Lista,
se pare ca "dincolo" lumii îi place sa polemizeze. Îmi rezerv placerea de a
prezenta ceea ce mai gasesc shi io proaspat pe aici. Poate ne vom mai gândi
shi noi la diverse :-)

"Yes, but is it art?
Fake at the Tate
by Chris Millar
Tracey Emin and Martin Creed have made fortunes from them. Whether it's an
unmade bed or a humble  lightbulb, modern art galleries are prepared to
spend thousands on everyday items and turn them into 21st century icons. It
seems nowadays almost anything can be turned into art. Or can it? Last week,
art students from Leeds Metropolitan University dumped some cardboard boxes
on the floor of the Tate Modern. Within moments, a crowd had gathered to
admire the new exhibit before security guards cleared them away.
The Evening Standard decided to test the credulity of the public once again
by exhibiting a mundane object - and seeing how long it took visitors to
treat it with the reverence of a tank of Damien Hirst's pickled sharks.
We plumped for a classic subject interpreted by artists through the
centuries - a basket of fruit, to which we added a suitably pretentious
label. The "artist" of our masterpiece was Harrods' Food Hall. We christened
the work Take A Bite and discreetly put it on show in a room housing prints
and objets d'art by modern sculptor Eduardo Paolozzi. Close by were works by
two of the past century's greatest artists, Matisse and Picasso. After all,
Take A Bite, by fictional artist Spence Marx, was a serious piece, a work
that empowered" the observer to eat from the display and "actively engage
with the installation".
These were not apples and bananas hurriedly dumped into a basket by Mohamed
Fayed's in-house grocer. These were "permanent signifiers of meaning".
Within moments, Paolozzi's canvases lost their allure as art lovers crowded
around. Word spread through the surrounding rooms that there was something
truly original to see in the Paolozzi room. A French viewer examined the
display and said to her friend: "Is it a real piece of art or is it just
fruit? It's very hard to say. That's what makes it such an interesting
work."
A young South American woman pursed her lips as she examined Take A Bite and
nodded as she read the label beside it. Then she followed the artist's
advice to "interact" with the work - and plucked a plump pear from the
basket.
A Japanese couple gingerly touched some of the fruit but hurried on, bemused
by its life-like texture. Another member of the cognoscenti, a rotund German
man, produced a camera and started snapping - as the bench in the centre of
the Paolozzi room became a feeding frenzy of culture.
"Conceptually interesting," said Charlotte, an art student from London.
Hans, another German tourist, was boldest in his evaluation. He examined the
fruit carefully for several minutes, then shoved a fistful of cherries in
his mouth. "That's funny. It's an interesting take on the still life, and
you can eat it." Laughing, he added: "It tastes better than the unmade bed
anyway."
Tracey Emin's My Bed caused a storm in 1999 when it went on show at the Tate
Gallery. The work - an unmade bed, surrounded by vodka bottles,
contraceptive pills and condoms - missed out on the Turner Prize but was
bought by advertising millionaire Charles Saatchi for Ł150,000."

vezi originalul, on-line la
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=533
216&in_review_text_id=498848
(link valabil pentru azi, 13.08.2002).


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