20 April 2010
More hybridity
Printresting's take on this video exhibits the printerly laws. It can't be printing, it has to be sculpture. If it were printing, we could control it. If 3-d printing were not printing, we'd be sculptors. Oh no! What to do!
Relax and let it be. Maybe it's an installation. Or a 3-d painting... oh my!
Printers can't be painters!
cultural baggage.
More examples of hybrid forms. Haven't seen these shows, but they sound and talk about not needing to follow the rules of genre. Musik für Barbaren und Klassiker breaks the traditional boundaries between concerts, sound installations, sculpture and music. Did you say:
Cuz I like the sound of that. I don't think I know how I'd react to that exhibit, and how I'd shoehorn the work into a single definitive genre.
Also Paola Pivi's work in Rotterdam. A free animals concert? With a democratic recording studio for anyone to record in? Did I mention the animals will be in the studio too. They will make noise while you record.
Neither of these have issues with being too familiar. Instead, they are new forms. I think of them through the lens of Sculpture in the Expanded Field (link is PDF). I can't help it, but the klein group that Krauss talks about has been hanging over my head informing how I look at art since I read that article circa 2003. It was probably the moment where art went from something that we react at to something that I considered in a historical and conceptual construct. I was already familiar with most of the works mentioned in the article, but no one had presented such a clear and useful argument to me about the meta-data involved or enumerated the complicated relationship between the work and genre. Art work was either good or bad. I didn't even consider if it fit into sculpture comfortably.
That article is my cultural baggage.
The Ultrasound of Therapy from Staalplaat Soundsystem is an installation-as-a-whole, built up as an infirmary. In each of the beds the visitor undergoes an individualised sensory processing. Highlights are the meditation videos, the beds connected to bass amplifiers (which intensify the physical experience of sound), or the treatment with sine waves, based on the Indo-Tibetan vadacakra theory.
Cuz I like the sound of that. I don't think I know how I'd react to that exhibit, and how I'd shoehorn the work into a single definitive genre.
Also Paola Pivi's work in Rotterdam. A free animals concert? With a democratic recording studio for anyone to record in? Did I mention the animals will be in the studio too. They will make noise while you record.
Neither of these have issues with being too familiar. Instead, they are new forms. I think of them through the lens of Sculpture in the Expanded Field (link is PDF). I can't help it, but the klein group that Krauss talks about has been hanging over my head informing how I look at art since I read that article circa 2003. It was probably the moment where art went from something that we react at to something that I considered in a historical and conceptual construct. I was already familiar with most of the works mentioned in the article, but no one had presented such a clear and useful argument to me about the meta-data involved or enumerated the complicated relationship between the work and genre. Art work was either good or bad. I didn't even consider if it fit into sculpture comfortably.
That article is my cultural baggage.
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